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 Nauru and from Johannesburg.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 The Neon Judgement to the techno kids.
I played it at the Astoria.
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 Bill Near. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Masters at Work,
The Saints,
U.S. Maple,
AZ,
LL Cool J,
Sister Nancy,
Altered Images,
Motorama,
The Gap Band,
Bobby Hutcherson,
Siglo XX,
Eric Copeland,
Sonic Youth,
Young Marble Giants,
Nick Fraelich,
Model 500,
Cymande,
Terrestrial Tones,
Faust,
Gil Scott-Heron & Brian Jackson,
Sun Ra Arkestra,
Malaria!,
Jacques Brel,
Aswad,
The Seeds,
Visionaries,LMNO, T- Love & Iriscience,
ABC,
Cybotron,
Joey Negro,
The Mummies,
Art Ensemble Of Chicago,
Wings,
Nas,
The New Christs,
Laurel Aitken,
Thee Headcoats,
The Gories,
The Angels of Light,
Vaughan Mason & Crew,
Mo-Dettes,
Soulsonic Force,
Main Source,
Shoche,
Circle Jerks,
cv313,
Amon Düül II,
Rufus Thomas,
Richard Hell and the Voidoids,
Sparks,
Joy Division,
Barclay James Harvest,
the Germs,
Oppenheimer Analysis,
Aaron Thompson,
Marc Romboy vs. Booka Shade,
Ultramagnetic MC's,
Wolf Eyes,
Captain Beefheart & His Magic Band,
Marcia Griffiths,
Schoolly D,
The American Breed,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.