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 Afghanistan and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Paris and Paris.
I'm losing my edge to the art-school Taipei 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 Deakin to the funk kids.
I played it at the Troubador.
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 Bluetip. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Blossom Toes,
Juan Atkins,
Reagan Youth,
Blake Baxter,
Icehouse,
Bizarre Inc.,
Kauko Röyhkä ja Narttu,
Reuben Wilson,
Lonnie Liston Smith,
Pylon,
Blancmange,
Scientists,
Avey Tare & Kría Brekkan,
Louis and Bebe Barron,
Bad Manners,
Al Stewart,
The Pop Group,
Howard Jones,
Fad Gadget,
Cymande,
Swell Maps,
Quantec,
Radiopuhelimet,
Crispian St. Peters,
Ten City,
Sister Nancy,
Cameo,
Pole,
Das Ding,
The Black Dice,
Warren Ellis,
Public Image Ltd.,
Glenn Branca,
The Selecter,
Drexciya,
Minnie Riperton,
The Monochrome Set,
Fat Boys,
Sound Behaviour,
Neil Young,
The Royal Family And The Poor,
AZ,
Los Fastidios,
Amazonics,
Bush Tetras,
Con Funk Shun,
The Raincoats,
The Happenings,
Zapp,
Clear Light,
Deepchord,
Stiv Bators,
The West Coast Pop Art Experimental Band,
Kaleidoscope,
Connie Case,
Malaria!,
Oblivians,
Pet Shop Boys,
John Coltrane,
Peter and Kerry,
Stereo Dub,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.