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 Ireland and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Masters at Work to the punk 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 Godley & Creme. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal rap 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Victims,
the Association,
The Offenders,
The Buckinghams,
Terrestrial Tones,
Ronnie Foster,
Delta 5,
The Kinks,
Suburban Knight,
Angels of Light & Akron/Family,
Quantec,
48th St. Collective,
Jeff Mills,
Pagans,
Carl Craig,
the Swans,
Thompson Twins,
Davy DMX,
Fluxion,
Man Eating Sloth,
Kurtis Blow,
Cybotron,
Jacques Brel,
Colin Newman,
The Barracudas,
The Monks,
Eli Mardock,
London Community Gospel Choir,
Jerry's Kids,
Lafayette Afro Rock Band,
The Gap Band,
Matthew Halsall,
Nik Kershaw,
Tim Buckley,
The Dead C,
Rosa Yemen,
Anthony Braxton,
Scrapy,
Black Bananas,
Heaven 17,
Soulsonic Force,
Beasts of Bourbon,
Nation of Ulysses,
Donny Hathaway,
The Fuzztones,
Supertramp,
Lindisfarne,
The Sonics,
Ken Boothe,
Niagra,
Andrew Ashong & Theo Parrish,
Lou Reed,
Hot Snakes,
June Days,
Duran Duran,
N.O.R.E. Featuring Pharrell,
Radiopuhelimet,
Hasil Adkins,
Lou Christie,
Babytalk, Babytalk, Babytalk, Babytalk.
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.