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 Vanuatu and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Calgary and Hong Kong.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Iggy Pop to the grime 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 Cabaret Voltaire. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every The Pop Group 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Stetsasonic,
The Sound,
Richard Hell and the Voidoids,
David Axelrod,
Eddi Front,
Jandek,
Gong,
Jesper Dahlbäck,
The Index,
Rhythm & Sound,
Altered Images,
Graham Central Station,
10cc,
Minutemen,
Ornette Coleman,
Lindisfarne,
Warsaw,
The Leaves,
Sad Lovers and Giants,
Minor Threat,
Alison Limerick,
Echo & the Bunnymen,
Fifty Foot Hose,
Subhumans,
Letta Mbulu,
K-Klass,
D'Angelo,
Sugar Minott,
Mandrill,
Spoonie Gee,
Cameo,
Boz Scaggs,
The Dirtbombs,
John Holt,
Dennis Brown,
Gil Scott-Heron and Jamie xx,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Radiopuhelimet,
Notorious BIG live in Amsterdam,
MDC,
Eyeless In Gaza,
Ken Boothe,
EPMD,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crispian St. Peters,
The Music Machine,
Pulsallama,
Rowland S Howard / Lydia Lunch,
Cecil Taylor,
Chrome,
Chris Corsano,
Terry Callier,
Ajijia Myrayebe,
The American Breed,
Loose Ends,
Slave,
Colin Newman,
Fatback Band,
Eric B and Rakim,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.