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 Norway and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Glasgow 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Yusef Lateef to the rock 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 Walker Brothers. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Byron Stingily 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Throbbing Gristle,
the Soft Cell,
The Jesus and Mary Chain,
Bizarre Inc.,
Mr. Review,
The Chocolate Watch Band,
Public Image Ltd.,
Aloha Tigers,
Bluetip,
Marc Romboy vs. Booka Shade,
Erykah Badu,
Roxy Music,
T. Rex,
The Gun Club,
Section 25,
Kool Moe Dee,
Motorama,
Louis and Bebe Barron,
Girls At Our Best!,
Jacob Miller,
Michelle Simonal,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
Jimmy McGriff,
Bootsy's Rubber Band,
Bill Near,
Ultra Naté,
OOIOO,
Erasure,
The Monochrome Set,
Sad Lovers and Giants,
John Foxx,
Ajijia Myrayebe,
the Association,
Peter and Kerry,
Zapp,
The Barracudas,
Stockholm Monsters,
Donny Hathaway,
Simply Red,
Rapeman,
Neu!,
Minnie Riperton,
Harpers Bizarre,
Gian Franco Pienzio,
Circle Jerks,
Negative Approach,
Radio Birdman,
Eric Dolphy,
Cecil Taylor,
John Coltrane,
Shuggie Otis,
Wolf Eyes,
Danielle Patucci,
Sam Rivers,
Harry Pussy,
Rod Modell,
a-ha,
These Immortal Souls,
Little Man,
Barclay James Harvest,
The Modern Lovers,
Grauzone,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.