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 Sao Paulo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 Underground Resistance to the jazz 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 Peter and Kerry. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Aural Exciters,
Cameo,
Cheater Slicks,
Supertramp,
Anakelly,
Avey Tare & Kría Brekkan,
Excepter,
James Chance & The Contortions,
The Moody Blues,
Thee Headcoats,
OOIOO,
Terry Callier,
Pole,
Stiv Bators,
Hashim,
Sandy B,
Roxy Music,
Jeru the Damaja,
Joensuu 1685,
Eric Dolphy,
The Smiths,
Ken Boothe,
Gregory Isaacs,
Ultimate Spinach,
A Certain Ratio,
Hasil Adkins,
Richard Hell and the Voidoids,
Cecil Taylor,
Sticky Fingaz feat. Raekwon,
Japan,
Andrew Hill,
Suburban Knight,
Notorious Big And Bone Thugs,
Maleditus Sound,
Ultravox,
Lee Hazlewood,
The Monks,
Johnny Osbourne,
Eric B and Rakim,
A Flock of Seagulls,
Stetsasonic,
The Grass Roots,
Warsaw,
Scrapy,
Rhythim Is Rhythim,
Thinking Fellers Union Local 282,
Grauzone,
Roy Ayers Ubiquity,
Mission of Burma,
The Searchers,
Scientists,
Andrew Ashong & Theo Parrish,
Boredoms,
The Five Americans,
Arthur Verocai,
Model 500,
Monolake,
The Pop Group,
Mad Mike,
X-102,
Arcadia,
Dorothy Ashby,
the Normal, the Normal, the Normal, the Normal.
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.