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 Pakistan and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Columbus 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Lee Hazlewood to the punk kids.
I played it at the Troubador.
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 Funkadelic. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Dual Sessions,
Barrington Levy,
The Litter,
Soft Cell,
Unrelated Segments,
Motorama,
Public Image Ltd.,
Mission of Burma,
The Monks,
Eli Mardock,
Sight & Sound,
DNA,
X-101,
Pulsallama,
The Offenders,
Inner City,
Bluetip,
Kool G Rap & DJ Polo,
Jeff Lynne,
Althea and Donna,
Massinfluence,
Henry Cow,
Parry Music,
Frankie Knuckles,
In Retrospect,
The J.B.'s,
The Chocolate Watch Band,
Duran Duran,
The Young Rascals,
cv313,
James Chance & The Contortions,
The Dirtbombs,
Can,
The Martian,
Robert Görl,
London Community Gospel Choir,
The Fugs,
Morten Harket,
Jerry's Kids,
The Knickerbockers,
DJ Sneak,
The Residents,
Eve St. Jones,
Curtis Mayfield,
Saccharine Trust,
Ajijia Myrayebe,
Rhythim Is Rhythim,
Gang Starr,
Deepchord,
Marvin Gaye,
Michelle Simonal,
Lakeside,
Oppenheimer Analysis,
Urselle,
Joey Negro,
Liliput,
Pete Rock & C.L. Smooth,
Moss Icon,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.