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 Bangladesh and from Manchester.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Marine Girls to the rock kids.
I played it at the Hacienda.
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 Roxette. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
the Bar-Kays,
Avey Tare's Slasher Flicks,
Joey Negro,
Neil Young,
Johnny Osbourne,
Los Fastidios,
Peter and Kerry,
Graham Central Station,
Vainqueur,
Alison Limerick,
The Leaves,
Siglo XX,
A Flock of Seagulls,
Simply Red,
Marc Almond,
Roxette,
Roy Ayers,
X-Ray Spex,
Spandau Ballet,
Arab on Radar,
Anthony Braxton,
Notorious BIG live in Amsterdam,
Rod Modell,
Kerrie Biddell,
Gerry Rafferty,
Mad Mike,
Gabor Szabo,
The Offenders,
The Stooges,
Avey Tare,
E-Dancer,
Lindisfarne,
Gil Scott-Heron and Jamie xx,
Traffic Nightmare,
Duran Duran,
Godley & Creme,
Dead Boys,
The Young Rascals,
Basic Channel,
T.S.O.L.,
Jerry Gold Smith,
K-Klass,
Accadde A,
Connie Case,
Johnny Clarke,
Black Sheep,
Nico,
Adolescents,
Bootsy Collins,
Cameo,
The Dave Clark Five,
Reuben Wilson,
Lou Reed & Metallica,
the Sonics,
Pet Shop Boys,
The Sound,
Massinfluence,
Teenage Jesus and the Jerks,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Man Parrish,
The Index,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.