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 Senegal 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 1962 to 1976.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Portland 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Johnny Clarke to the dance 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 Minutemen. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every The Names 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 '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
the Association,
Sly & The Family Stone,
Qualms,
Stiv Bators,
The Techniques,
Bang On A Can,
Gregory Isaacs,
Arthur Verocai,
The Moody Blues,
The Move,
Marc Almond,
The Zeros,
Be Bop Deluxe,
Smog,
Red Lorry Yellow Lorry,
MDC,
Cameo,
Thee Headcoats,
Susan Cadogan,
Kerri Chandler,
The Monks,
Echospace,
Jeff Mills,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
10cc,
Rod Modell,
X-102,
Rotary Connection,
Boredoms,
Electric Light Orchestra,
Joyce Sims,
Schoolly D,
Sun Ra,
The New Christs,
The Dirtbombs,
Stereo Dub,
The Five Americans,
Gerry Rafferty,
Dave Gahan,
Bang on a Can All-Stars,
Pet Shop Boys,
Second Layer,
Byron Stingily,
Das Ding,
Moss Icon,
Bauhaus,
Quando Quango,
Morten Harket,
Idris Muhammad,
Rufus Thomas,
Eli Mardock,
Nico,
Fad Gadget,
Scrapy,
Fela Kuti,
Toni Rubio,
Half Japanese,
Quantec,
Stetsasonic,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.