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 Ukraine and from Salvador.
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 1965 to 1974.
I'm losing my edge.
To all the kids in New York and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Dawn Penn to the dance kids.
I played it at CBGB's.
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 Mark Hollis. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Lee Hazlewood,
Skaos,
Junior Murvin,
John Coltrane,
Whodini,
The Barracudas,
Alison Limerick,
Flash Fearless,
Index,
The Alarm Clocks,
The Peanut Butter Conspiracy,
Cal Tjader,
John Lydon,
Cluster,
Clear Light,
James Chance & The Contortions,
Major Organ And The Adding Machine,
The Offenders,
The Evens,
Jeff Lynne,
Traffic Nightmare,
Con Funk Shun,
Echo & the Bunnymen,
Oblivians,
The American Breed,
Richard Hell and the Voidoids,
Stiv Bators,
Vaughan Mason & Crew,
Tres Demented,
Inner City,
Aaron Thompson,
The Beau Brummels,
Rites of Spring,
Teenage Jesus and the Jerks,
Gil Scott Heron,
Cabaret Voltaire,
The Happenings,
Yellowson,
These Immortal Souls,
Wally Richardson,
E-Dancer,
Procol Harum,
Tubeway Army,
Desert Stars,
Eden Ahbez,
Pulsallama,
Ituana,
Johnny Osbourne,
Amazonics,
Donny Hathaway,
Louis and Bebe Barron,
Kauko Röyhkä ja Narttu,
Y Pants,
Lower 48,
Ultimate Spinach,
Marcia Griffiths,
Fatback Band,
Deadbeat,
Amon Düül II,
Peter Gordon & Love of Life Orchestra,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.