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 South Sudan and from Toronto.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 World's Most to the techno kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
The Move,
The Gap Band,
Make Up,
Sexual Harrassment,
Yusef Lateef,
June of 44,
the Slits,
Kool Moe Dee,
Gastr Del Sol,
Letta Mbulu,
Marcia Griffiths,
Roxette,
Big Daddy Kane,
Smog,
Nirvana,
Buzzcocks,
The Mighty Diamonds,
Fat Boys,
Marshall Jefferson,
Monolake,
Marmalade,
Pylon,
the Normal,
The Happenings,
Gil Scott-Heron and Jamie xx,
It's A Beautiful Day,
Index,
Sad Lovers and Giants,
Cymande,
Absolute Body Control,
The Blackbyrds,
Brothers Johnson,
Larry & the Blue Notes,
Peter & Gordon,
Nation of Ulysses,
Tres Demented,
Eddi Front,
June Days,
Slave,
Franke,
Idris Muhammad,
Bob Dylan,
Inner City,
Dorothy Ashby,
Peter Gordon & Love of Life Orchestra,
The West Coast Pop Art Experimental Band,
The Index,
Scratch Acid,
Neil Young,
Stiv Bators,
Quando Quango,
Josef K,
Ornette Coleman,
Man Eating Sloth,
Simply Red,
Patti Smith,
Skarface,
Girls At Our Best!,
The Dave Clark Five,
Wings,
Wire,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.