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 Costa Rica and from Hong Kong.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Sonny Sharrock to the grunge 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 Leonard Cohen. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Ohio Players,
Babytalk,
Davy DMX,
June Days,
Faust,
James White and The Blacks,
Jacques Brel,
Royal Trux,
Matthew Bourne,
Angels of Light & Akron/Family,
The Durutti Column,
A Certain Ratio,
Neu!,
Gerry Rafferty,
The Tremeloes,
Sparks,
Black Pus,
Echospace,
Pylon,
Brass Construction,
Robert Hood,
Sexual Harrassment,
Mars,
The Smiths,
CMW,
Oneida,
the Slits,
Masters at Work,
Matthew Halsall,
John Cale,
Deepchord,
Moebius,
Sticky Fingaz feat. Raekwon,
KRS-One,
Bauhaus,
Unrelated Segments,
Sister Nancy,
Letta Mbulu,
The Offenders,
Supertramp,
Fugazi,
Harmonia,
Arab on Radar,
The Monochrome Set,
Magma,
Gang Green,
Can,
The Last Poets,
Popol Vuh,
Cheater Slicks,
Skaos,
Black Moon,
The Barracudas,
Khruangbin,
Minutemen,
Qualms,
MC5,
Moss Icon,
Ultramagnetic MC's,
Lebanon Hanover,
the Swans,
Hoover, Hoover, Hoover, Hoover.
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.