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 Brunei and from Woodstock.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 harpsichord 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 Deakin to the crunk kids.
I played it at the Astoria.
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 Newcleus. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Jacob Miller 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Sandy B,
Albert Ayler,
Gang of Four,
The Slackers,
Sister Nancy,
Eve St. Jones,
Skriet,
The United States of America,
Deutsch Amerikanische Freundschaft,
Ralphi Rosario,
Mars,
Althea and Donna,
Skarface,
Jeff Mills,
Isaac Hayes,
Agitation Free,
Lightning Bolt,
Oppenheimer Analysis,
The Star Department,
Kayak,
The Wake,
Roxette,
Black Pus,
Michelle Simonal,
Quantec,
Scan 7,
Laurel Aitken,
Sällskapet,
Slave,
Easy Going,
Soul Sonic Force,
The Evens,
Absolute Body Control,
Au Pairs,
Con Funk Shun,
Chrome,
ABC,
Bobbi Humphrey,
Loose Ends,
The Blues Magoos,
Erasure,
Anakelly,
World's Most,
Eden Ahbez,
The Names,
Matthew Bourne,
Kenny Larkin,
Livin' Joy,
Rufus Thomas,
Hardrive,
Khruangbin,
Letta Mbulu,
Sonic Youth,
Neil Young & Crazy Horse,
Pulsallama,
Drexciya,
Stiv Bators,
Ossler,
Quadrant,
Monolake,
Sight & Sound,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.