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 United Kingdom and from Bremen.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Columbus 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 arpeggiator 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 Oppenheimer Analysis to the techno 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 Q65. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Los Fastidios,
The Smoke,
X-101,
Television,
Peter and Kerry,
Mr. Review,
Gil Scott Heron,
Scrapy,
Rufus Thomas,
Maleditus Sound,
Yellowson,
Nirvana,
Reagan Youth,
Goldenarms,
The Blues Magoos,
Soul II Soul,
10cc,
the Germs,
Camberwell Now,
Gabor Szabo,
Cluster,
Vaughan Mason & Crew,
Ultramagnetic MC's,
Throbbing Gristle,
Dennis Brown,
Rosa Yemen,
Kevin Saunderson,
Rod Modell,
The Standells,
Rotary Connection,
Strawberry Alarm Clock,
OOIOO,
Bizarre Inc.,
Vainqueur,
Beasts of Bourbon,
Brass Construction,
Juan Atkins,
The Raincoats,
Accadde A,
Sixth Finger,
Scan 7,
the Bar-Kays,
Scratch Acid,
Cybotron,
Organ,
The Mummies,
Warsaw,
The Vogues,
Byron Stingily,
Radio Birdman,
The Moleskins,
Monolake,
Gerry Rafferty,
The Cure,
Glambeats Corp.,
Avey Tare & Kría Brekkan,
Neil Young,
Gang Gang Dance,
Aural Exciters,
8 Eyed Spy,
Schoolly D,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.