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 Spain and from Bologna.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Columbus.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Robert Görl to the funk 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 Marine Girls. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Juan Atkins 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Tremeloes,
Darondo,
Camberwell Now,
The Detroit Cobras,
The Shadows of Knight,
Hardrive,
Connie Case,
Kauko Röyhkä ja Narttu,
Traffic Nightmare,
Shoche,
The Five Americans,
Suburban Knight,
Banda Bassotti,
Angry Samoans,
Dual Sessions,
Gang Starr,
R.M.O.,
Leonard Cohen,
Laurel Aitken,
Can,
Jeff Mills,
Theoretical Girls,
The Stooges,
Ohio Players,
Al Stewart,
Excepter,
Be Bop Deluxe,
Sunsets and Hearts,
New Age Steppers,
Isaac Hayes,
Aural Exciters,
Quadrant,
Letta Mbulu,
MC5,
Tom Boy,
Crash Course in Science,
Warren Ellis,
Rites of Spring,
Severed Heads,
Stereo Dub,
Icehouse,
Todd Terry,
The Cramps,
Ossler,
Hoover,
The Selecter,
Black Moon,
Brick,
ABBA,
Mark Hollis,
The Dirtbombs,
Wighnomy Brothers & Robag Wruhme,
The Martian,
John Coltrane,
Pussy Galore,
Byron Stingily,
Man Eating Sloth,
Robert Hood,
Y Pants,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.