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 Haiti and from Bremen.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Edmonton 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 guitar sounds with much patience.
I was there when Lou Reed 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 Sam Rivers to the techno kids.
I played it at the Troubador.
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 David Axelrod. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal crunk 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 a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
ABC,
Gabor Szabo,
Gil Scott-Heron & Brian Jackson,
Negative Approach,
Bobby Womack,
Dark Day,
Jacob Miller,
Lower 48,
The Golliwogs,
Interpol,
Public Image Ltd.,
The Peanut Butter Conspiracy,
Con Funk Shun,
Television,
Henry Cow,
Gil Scott Heron,
Prince Buster,
Porter Ricks,
Nirvana,
The Cramps,
The Fire Engines,
Jesper Dahlbäck,
Cecil Taylor,
Andrew Ashong & Theo Parrish,
the Fania All-Stars,
Icehouse,
Inner City,
B.T. Express,
Orchestral Manoeuvres in the Dark,
Electric Light Orchestra,
Iggy Pop,
Eve St. Jones,
Faust,
Mantronix,
The Jesus and Mary Chain,
Vaughan Mason & Crew,
The Doobie Brothers,
Lakeside,
The Moleskins,
The Flesh Eaters,
Fat Boys,
David McCallum,
Crash Course in Science,
Section 25,
Scrapy,
Jandek,
FM Einheit,
Connie Case,
Pulsallama,
Oblivians,
Neil Young,
The Smoke,
Larry & the Blue Notes,
China Crisis,
The Slackers,
Lou Reed,
Roy Ayers Ubiquity,
Bootsy Collins,
Bang On A Can,
Deepchord, Deepchord, Deepchord, Deepchord.
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.