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 Nigeria and from Beijing.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Tears for Fears to the crunk 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 Warsaw. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Whodini,
Electric Prunes,
DeepChord presents Echospace,
Underground Resistance,
Ornette Coleman,
kango's stein massive,
The Sonics,
Scion,
The Smoke,
Cameo,
Quantec,
Black Bananas,
Country Joe & The Fish,
Ice-T,
The Cowsills,
Brand Nubian,
A Certain Ratio,
The Doors,
Terrestrial Tones,
The Searchers,
Bluetip,
Aswad,
Infiniti,
Drexciya,
The Moleskins,
the Fania All-Stars,
Japan,
cv313,
Funky Four + One,
The Offenders,
ABC,
Can,
Peter Gordon & Love of Life Orchestra,
Girls At Our Best!,
The Selecter,
The Young Rascals,
Arthur Verocai,
R.M.O.,
The Blues Magoos,
Piero Umiliani,
Moby Grape,
The Dave Clark Five,
Sällskapet,
Lafayette Afro Rock Band,
Avey Tare & Kría Brekkan,
Eden Ahbez,
The Real Kids,
Ultravox,
Gang Gang Dance,
Sister Nancy,
Massinfluence,
Todd Rundgren,
Motorama,
Shoche,
The Invisible,
Siouxsie and the Banshees,
The J.B.'s,
Kool G Rap & DJ Polo,
Second Layer,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.