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 Costa Rica and from Beijing.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Lille.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Basic Channel to the punk 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 John Coltrane. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Junior Murvin 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 '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Harpers Bizarre,
June of 44,
DNA,
Lafayette Afro Rock Band,
John Cale,
Tears for Fears,
Schoolly D,
Nick Fraelich,
Rahsaan Roland Kirk,
Kevin Saunderson,
Bush Tetras,
PIL,
Eve St. Jones,
Newcleus,
the Fania All-Stars,
Cluster,
Hot Snakes,
Byron Stingily,
Sound Behaviour,
Icehouse,
Fluxion,
Michelle Simonal,
ABBA,
Interpol,
Traffic Nightmare,
Crispian St. Peters,
Stiv Bators,
The Slits,
Cybotron,
The Last Poets,
Intrusion,
Jacob Miller,
Nick Cave & The Bad Seeds,
James White and The Blacks,
Yazoo,
Liliput,
FM Einheit,
the Normal,
Lakeside,
Don Cherry,
Goldenarms,
Scion,
Smog,
Radiopuhelimet,
Rowland S Howard / Lydia Lunch,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
Peter and Kerry,
Harry Pussy,
The Sisters of Mercy,
Eric Dolphy,
London Community Gospel Choir,
Bad Manners,
The Leaves,
Suicide,
Sam Rivers,
Q and Not U,
The Dead C,
It's A Beautiful Day,
Althea and Donna,
The Happenings, The Happenings, The Happenings, The Happenings.
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.