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 Uganda and from Milan.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Circle Jerks to the crunk 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 DeepChord presents Echospace. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Michelle Simonal,
Ohio Players,
The Names,
Cabaret Voltaire,
The Flesh Eaters,
The Chocolate Watch Band,
The Cure,
Scrapy,
Charles Mingus,
Blancmange,
Grey Daturas,
Judy Mowatt,
Davy DMX,
La Düsseldorf,
The Modern Lovers,
Rowland S Howard / Lydia Lunch,
Pole,
Lebanon Hanover,
Crime,
Saccharine Trust,
Vaughan Mason & Crew,
Jerry Gold Smith,
Stetsasonic,
Delta 5,
The Toasters,
Technova,
The Litter,
In Retrospect,
Chrome,
Soulsonic Force,
Kool Moe Dee,
Yaz,
Gerry Rafferty,
The Red Krayola,
Leonard Cohen,
Slick Rick,
The Pop Group,
8 Eyed Spy,
Freddie Wadling,
The Associates,
Dawn Penn,
A Flock of Seagulls,
Index,
Rotary Connection,
The Techniques,
Radiohead,
CMW,
Icehouse,
Das Ding,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
These Immortal Souls,
Black Bananas,
Spoonie Gee,
Manfred Mann's Earth Band,
Talk Talk,
FM Einheit,
Reuben Wilson,
Lightning Bolt,
Groovy Waters,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.