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 Angola and from Paris.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Parry Music to the grunge kids.
I played it at the Troubador.
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 Television Personalities. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
In Retrospect,
Gerry Rafferty,
the Slits,
Idris Muhammad,
Soul Sonic Force,
The Skatalites,
The Saints,
Rites of Spring,
Swell Maps,
Colin Newman,
Fear,
Organ,
Ultravox,
cv313,
Howard Jones,
Bang On A Can,
The Fuzztones,
The Gap Band,
Nick Cave & The Bad Seeds,
Infiniti,
Kaleidoscope,
Clear Light,
Schoolly D,
Tres Demented,
De La Soul & Jungle Brothers,
Godley & Creme,
Throbbing Gristle,
Dead Boys,
New Age Steppers,
The Grass Roots,
Rakim,
Jerry Gold Smith,
Half Japanese,
The Gun Club,
Larry & the Blue Notes,
Toni Rubio,
Make Up,
Donny Hathaway,
48th St. Collective,
The Move,
Todd Rundgren,
Kayak,
Hoover,
Drexciya,
Stetsasonic,
The Doors,
Peter Gordon & Love of Life Orchestra,
Fugazi,
Tim Buckley,
Electric Light Orchestra,
Cal Tjader,
Bizarre Inc.,
Vladislav Delay,
Orchestral Manoeuvres in the Dark,
Man Parrish,
Von Mondo,
Eyeless In Gaza,
Bronski Beat,
Darondo,
David Axelrod,
David McCallum,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.