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 Iraq and from Spokane.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Tropical Tobacco to the disco kids.
I played it at the Crocodile.
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 James Chance & The Contortions. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
MDC,
Hashim,
Wire,
Siglo XX,
The Cosmic Jokers,
Barry Ungar,
Lucky Dragons,
48th St. Collective,
A Certain Ratio,
Brick,
The Move,
Dark Day,
Khruangbin,
The New Christs,
The Alarm Clocks,
Steve Hackett,
The Dave Clark Five,
Jacques Brel,
Sällskapet,
Lebanon Hanover,
the Association,
Pantytec,
The Detroit Cobras,
Royal Trux,
Second Layer,
Dorothy Ashby,
Grandmaster Flash and the Furious Five,
Theoretical Girls,
Pulsallama,
Al Stewart,
The Pop Group,
the Sonics,
Subhumans,
Rites of Spring,
Heavy D & The Boyz,
Underground Resistance,
Q and Not U,
Jeff Lynne,
Soul II Soul,
Crispy Ambulance,
The Real Kids,
The Seeds,
Fela Kuti,
The Skatalites,
Rapeman,
Rotary Connection,
D'Angelo,
Essential Logic,
The Remains,
Wally Richardson,
The Slits,
The American Breed,
Metal Thangz,
Los Fastidios,
Sound Behaviour,
Toni Rubio,
Rahsaan Roland Kirk,
Flamin' Groovies,
Robert Görl,
Circle Jerks,
Japan,
June of 44,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.