Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tanzania and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Con Funk Shun to the jazz kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Unwound. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
the Normal,
Matthew Bourne,
Lafayette Afro Rock Band,
Spoonie Gee,
Avey Tare's Slasher Flicks,
Slick Rick,
Louis and Bebe Barron,
Chris & Cosey,
Mark Hollis,
Peter and Kerry,
Eric Copeland,
The Men They Couldn't Hang,
Graham Central Station,
Bob Dylan,
The Move,
Swans,
Avey Tare & Kría Brekkan,
Rod Modell,
Eve St. Jones,
Oppenheimer Analysis,
Nils Olav,
Metal Thangz,
Guru Guru,
The Gun Club,
New Order,
The Doors,
Ituana,
The New Christs,
Ultramagnetic MC's,
Eric Dolphy,
The Royal Family And The Poor,
Patti Smith,
Pete Rock & C.L. Smooth,
Subhumans,
Throbbing Gristle,
Andrew Hill,
The Offenders,
The Doobie Brothers,
Lindisfarne,
T.S.O.L.,
DNA,
Nik Kershaw,
Mary Jane Girls,
Susan Cadogan,
June of 44,
Moss Icon,
The Monks,
Tomorrow,
Dark Day,
The Moody Blues,
Morten Harket,
The Smoke,
Visage,
Al Stewart,
Man Parrish,
Liliput,
The Slackers,
Interpol,
The Flesh Eaters,
Rites of Spring,
Lucky Dragons,
Boredoms,
Kas Product, Kas Product, Kas Product, Kas Product.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.