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 Tuvalu and from Cairo.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 The Standells to the rock kids.
I played it at the Astoria.
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 Arab on Radar. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
The Birthday Party,
Parry Music,
The Techniques,
Liaisons Dangereuses,
Wire,
Michelle Simonal,
Surgeon,
Vaughan Mason & Crew,
The Human League,
The Monks,
Cameo,
Rites of Spring,
Gian Franco Pienzio,
The Pop Group,
E-Dancer,
Cybotron,
Eric B and Rakim,
the Association,
Tommy Roe,
Josef K,
Aloha Tigers,
Delta 5,
Brass Construction,
The Saints,
Gregory Isaacs,
PIL,
Lou Reed & Metallica,
Ornette Coleman,
Henry Cow,
The Blues Magoos,
The Young Rascals,
EPMD,
Livin' Joy,
Funky Four + One,
Q65,
Bang on a Can All-Stars,
LL Cool J,
Sun Ra Arkestra,
The Golliwogs,
The Fortunes,
Anthony Braxton,
Blancmange,
Janne Schatter,
Chris & Cosey,
Scratch Acid,
the Bar-Kays,
Popol Vuh,
Kool G Rap & DJ Polo,
Cecil Taylor,
Sunsets and Hearts,
Scott Walker + Sunn O))),
Eve St. Jones,
Cymande,
Bizarre Inc.,
Depeche Mode,
The Jesus and Mary Chain,
The Gap Band,
Easy Going,
Louis and Bebe Barron,
Moss Icon,
Robert Wyatt,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.