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 Sweden and from Winnipeg.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Salvador 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 The Music Machine to the techno kids.
I played it at the Spitz.
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 Inner City. All the underground hits.
All Television tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Junior Murvin,
Peter & Gordon,
Alphaville,
Drexciya,
The Real Kids,
Urselle,
Eric Dolphy,
Agent Orange,
Camouflage,
Skarface,
Kauko Röyhkä ja Narttu,
The Residents,
Rod Modell,
Infiniti,
Bluetip,
E-Dancer,
Crispian St. Peters,
Radiopuhelimet,
It's A Beautiful Day,
Amon Düül,
The Busters,
Alice Coltrane,
Procol Harum,
John Cale,
Girls At Our Best!,
Gang Gang Dance,
Harmonia,
Country Teasers,
Eden Ahbez,
These Immortal Souls,
Crime,
Vaughan Mason & Crew,
Guru Guru,
Grandmaster Flash,
Michelle Simonal,
Grey Daturas,
Lalann,
Model 500,
David McCallum,
Strawberry Alarm Clock,
Mantronix,
The Remains,
Young Marble Giants,
Grandmaster Flash and the Furious Five,
Barbara Tucker,
The Durutti Column,
Stiv Bators,
The Angels of Light,
The Blackbyrds,
Hoover,
The Monks,
Bill Near,
Dual Sessions,
Mark Hollis,
Warren Ellis,
Orchestral Manoeuvres in the Dark,
The Electric Prunes,
MDC,
Larry & the Blue Notes,
Animal Collective,
Sad Lovers and Giants,
Hashim, Hashim, Hashim, Hashim.
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.