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 Brazil and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Calgary 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 organ sounds with much patience.
I was there when Donald Fagen 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 The Neon Judgement 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 Fatback Band. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
X-102,
Second Layer,
Siglo XX,
8 Eyed Spy,
New York Dolls,
The Fall,
Jerry Gold Smith,
Massinfluence,
Barclay James Harvest,
The United States of America,
Roxette,
Kerri Chandler,
Organ,
Aural Exciters,
Bush Tetras,
Q65,
Albert Ayler,
It's A Beautiful Day,
Beasts of Bourbon,
Panda Bear,
Howard Jones,
Ponytail,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hot Snakes,
Ice-T,
The Selecter,
Barry Ungar,
The Monks,
Junior Murvin,
Eden Ahbez,
Au Pairs,
Faraquet,
Electric Light Orchestra,
Al Stewart,
Sight & Sound,
The New Christs,
The Black Dice,
Gastr Del Sol,
ABBA,
The Alarm Clocks,
Pole,
Deadbeat,
Oppenheimer Analysis,
MDC,
Ludus,
Japan,
The Gladiators,
Avey Tare & Kría Brekkan,
Idris Muhammad,
Thompson Twins,
The Music Machine,
Archie Shepp,
The Cure,
Jandek,
Technova,
The Neon Judgement,
Black Sheep,
Sun City Girls,
CMW,
Young Marble Giants,
Sparks,
Bluetip,
Orchestral Manoeuvres in the Dark,
June Days, June Days, June Days, June Days.
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.