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 Venezuela and from Seoul.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 Jerry Gold Smith to the electroclash 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 Richard Hell and the Voidoids. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Arthur Verocai,
The Shadows of Knight,
ABC,
Electric Light Orchestra,
Grey Daturas,
Parry Music,
10cc,
Infiniti,
The Flesh Eaters,
The Alarm Clocks,
Roxy Music,
The Detroit Cobras,
Echo & the Bunnymen,
Donny Hathaway,
The Tremeloes,
Grandmaster Flash and the Furious Five,
B.T. Express,
David Axelrod,
MC5,
Malaria!,
Ornette Coleman,
JFA,
Junior Murvin,
Warren Ellis,
Organ,
Lou Reed & John Cale,
Easy Going,
Siglo XX,
the Germs,
The Gladiators,
Liliput,
Rapeman,
Warsaw,
Davy DMX,
Main Source,
Jeff Lynne,
Half Japanese,
Q65,
Juan Atkins,
Brothers Johnson,
Q and Not U,
Ash Ra Tempel,
Cheater Slicks,
Rhythim Is Rhythim,
Fear,
Fifty Foot Hose,
Trumans Water,
Fluxion,
The Index,
Masters at Work,
Gastr Del Sol,
China Crisis,
The Pop Group,
The Skatalites,
Jandek,
In Retrospect,
Radio Birdman,
Ralphi Rosario,
The Vogues,
The Birthday Party,
Procol Harum,
Marc Romboy vs. Booka Shade,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.