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 Papua New Guinea and from New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Dual Sessions to the dance 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 Colin Newman. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Section 25 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Minor Threat,
The Smoke,
Avey Tare,
Jerry's Kids,
Man Eating Sloth,
The Neon Judgement,
Gil Scott-Heron & Brian Jackson,
Byron Stingily,
The American Breed,
Warsaw,
Major Organ And The Adding Machine,
Lakeside,
Lyres,
The Shadows of Knight,
Scion,
Adolescents,
The Associates,
Electric Prunes,
Teenage Jesus and the Jerks,
Deadbeat,
Wings,
Steve Hackett,
Electric Light Orchestra,
The Evens,
Easy Going,
X-101,
Zero Boys,
Jeff Lynne,
Gastr Del Sol,
Lou Christie,
Crooked Eye,
Arthur Verocai,
Aloha Tigers,
10cc,
Sällskapet,
Lizzy Mercier Descloux,
Kerri Chandler,
Manfred Mann's Earth Band,
Sam Rivers,
Oblivians,
Jandek,
Piero Umiliani,
Massinfluence,
Gang Gang Dance,
The United States of America,
Ponytail,
Agitation Free,
Ultra Naté,
Camron Feat. Jay Z And Juelz,
Bauhaus,
Index,
Crash Course in Science,
Simply Red,
Throbbing Gristle,
Rakim,
The Saints,
Laurel Aitken,
Radio Birdman,
the Swans,
Sonny Sharrock,
Marcia Griffiths,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.