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 Antigua and from Paris.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Scion to the jazz kids.
I played it at the 40 Watt.
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 The Moleskins. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Mr. Review,
Sexual Harrassment,
James White and The Blacks,
Tropical Tobacco,
The Toasters,
Harry Pussy,
The Skatalites,
Joey Negro,
Mo-Dettes,
Al Stewart,
Ludus,
Dawn Penn,
Girls At Our Best!,
John Coltrane,
New Age Steppers,
Cybotron,
LL Cool J,
Sällskapet,
Marc Almond,
The Associates,
Teenage Jesus and the Jerks,
Funky Four + One,
Minny Pops,
Toni Rubio,
These Immortal Souls,
PIL,
The Seeds,
Von Mondo,
The Star Department,
Newcleus,
Michelle Simonal,
The Fall,
Art Ensemble Of Chicago,
Gerry Rafferty,
The Barracudas,
Magma,
Strawberry Alarm Clock,
Cheater Slicks,
Lonnie Liston Smith,
Terry Callier,
Alphaville,
Tim Buckley,
Lee Hazlewood,
Grandmaster Flash,
Minutemen,
Nils Olav,
Fela Kuti,
Soft Cell,
Stockholm Monsters,
Harpers Bizarre,
The United States of America,
Derrick May,
Jerry's Kids,
Inner City,
Neil Young & Crazy Horse,
L. Decosne,
Junior Murvin,
Anthony Braxton,
Y Pants,
Faraquet,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.