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 Rwanda and from Spokane.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Lagos 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 Captain Beefheart 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 Janne Schatter 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 Grauzone. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy 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?
Notorious BIG live in Amsterdam,
Ludus,
Sällskapet,
Mars,
The Alarm Clocks,
Swell Maps,
Hoover,
Fatback Band,
Pere Ubu,
The Techniques,
Section 25,
Donald Byrd,
Simply Red,
Ronan,
Bootsy's Rubber Band,
Davy DMX,
Lakeside,
Ohio Players,
Lebanon Hanover,
Thompson Twins,
Wighnomy Brothers & Robag Wruhme,
Skriet,
Robert Hood,
The Birthday Party,
Delon & Dalcan,
Radiopuhelimet,
the Human League,
Kerrie Biddell,
Motorama,
The Fortunes,
Lucky Dragons,
Bobby Sherman,
Matthew Halsall,
Depeche Mode,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Sonny Sharrock,
Audionom,
Yaz,
DJ Sneak,
Con Funk Shun,
Bill Near,
Kas Product,
Juan Atkins,
David McCallum,
Sun Ra Arkestra,
Justin Hinds & The Dominoes,
Das Ding,
Brothers Johnson,
The Men They Couldn't Hang,
Scrapy,
The Litter,
Skarface,
Scan 7,
Dark Day,
Index,
Agent Orange,
Rod Modell,
Gichy Dan,
Liliput,
Marshall Jefferson,
Nik Kershaw,
Subhumans,
Moebius,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.