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 Zambia and from Jakarta.
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 Philadelphia and Houston.
I'm losing my edge to the art-school Manchester 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 EPMD to the electroclash kids.
I played it at Cafe Wha.
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 Depeche Mode. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every The Grass Roots 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Soft Cell,
Liliput,
Make Up,
Andrew Hill,
Skaos,
The Busters,
Soulsonic Force,
June of 44,
Technova,
Pantaleimon,
Aloha Tigers,
Eyeless In Gaza,
The Doobie Brothers,
Model 500,
Television,
Agent Orange,
Todd Rundgren,
Cymande,
Scott Walker + Sunn O))),
Urselle,
Notorious Big And Bone Thugs,
Gil Scott-Heron & Brian Jackson,
Brick,
Massinfluence,
Desert Stars,
The Saints,
The Sonics,
Warren Ellis,
The Golliwogs,
The Gories,
The Doors,
The Techniques,
Arcadia,
The Move,
Graham Central Station,
Warsaw,
Ken Boothe,
Reuben Wilson,
Dennis Brown,
Eden Ahbez,
The Durutti Column,
Lou Christie,
Kenny Larkin,
Ohio Players,
Khruangbin,
Fugazi,
Babytalk,
Nik Kershaw,
Pagans,
Alice Coltrane,
Y Pants,
Spoonie Gee,
Sun Ra,
The Offenders,
Joensuu 1685,
Motorama,
James Chance & The Contortions,
R.M.O.,
Joy Division,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.