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 Iraq and from Columbus.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Accra.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes 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 Massinfluence to the dance kids.
I played it at the Crocodile.
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 The Detroit Cobras. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Mummies 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Brick,
Ash Ra Tempel,
The Smoke,
Public Image Ltd.,
Todd Terry,
the Swans,
Dark Day,
Blancmange,
Don Cherry,
Derrick Morgan,
Sonny Sharrock,
Pet Shop Boys,
the Normal,
The Leaves,
Sunsets and Hearts,
Josef K,
Glambeats Corp.,
The Black Dice,
The Mighty Diamonds,
Ludus,
Barbara Tucker,
Soft Cell,
Barrington Levy,
Bizarre Inc.,
the Bar-Kays,
Lee Hazlewood,
Stereo Dub,
Crooked Eye,
Albert Ayler,
Malaria!,
Eric Copeland,
Drive Like Jehu,
Spoonie Gee,
Severed Heads,
Sarah Menescal,
Ultimate Spinach,
Model 500,
Terrestrial Tones,
Accadde A,
Lyres,
The Young Rascals,
Joensuu 1685,
Scion,
Pagans,
Judy Mowatt,
A Flock of Seagulls,
Tears for Fears,
Crispy Ambulance,
La Düsseldorf,
Adolescents,
AZ,
John Lydon,
Parry Music,
Sam Rivers,
Thinking Fellers Union Local 282,
The Neon Judgement,
Rhythim Is Rhythim,
Zero Boys,
Joyce Sims,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.