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 Tajikistan and from Manchester.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Accra and Lille.
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 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 The Music Machine to the jazz kids.
I played it at Trash.
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 Urselle. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
The Red Krayola,
Gastr Del Sol,
Bad Manners,
Marc Romboy vs. Booka Shade,
Negative Approach,
The Velvet Underground,
Boz Scaggs,
The Cowsills,
Talk Talk,
The Standells,
Monks,
Arcadia,
Thompson Twins,
Aswad,
Cameo,
Maurizio,
Index,
Blancmange,
The United States of America,
Sam Rivers,
Oppenheimer Analysis,
The Golliwogs,
Soulsonic Force,
Lou Reed,
Kevin Saunderson,
Throbbing Gristle,
Cybotron,
Carl Craig,
Bobby Hutcherson,
Kenny Larkin,
Ohio Players,
Jerry's Kids,
Smog,
Tom Boy,
Kool Moe Dee,
Traffic Nightmare,
Popol Vuh,
Silicon Teens,
The Trojans,
Au Pairs,
Country Joe & The Fish,
Delon & Dalcan,
Gregory Isaacs,
Television,
Oblivians,
Public Image Ltd.,
Rufus Thomas,
Nick Fraelich,
Nas,
Porter Ricks,
Dark Day,
Nico,
Schoolly D,
The Motions,
Lyres,
Ultimate Spinach,
Kurtis Blow,
Peter and Kerry,
Curtis Mayfield,
Radiopuhelimet,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.