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 Kosovo and from Lille.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 at the first Suicide practice in a loft in New York.
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 The Music Machine to the rock 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 John Cale. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Grauzone,
the Germs,
Bobby Hutcherson,
Jimmy McGriff,
Brand Nubian,
Liaisons Dangereuses,
Main Source,
Saccharine Trust,
Larry & the Blue Notes,
Boogie Down Productions,
Roy Ayers,
Liliput,
Tom Boy,
The Tremeloes,
Susan Cadogan,
Duran Duran,
The Invisible,
The Offenders,
Masters at Work,
The Flesh Eaters,
Tomorrow,
10cc,
Sexual Harrassment,
The West Coast Pop Art Experimental Band,
Kool Moe Dee,
Erykah Badu,
Yazoo,
Jeff Lynne,
Boredoms,
David McCallum,
Bang On A Can,
D'Angelo,
Pharaoh Sanders and the Fire Engines,
Mary Jane Girls,
Panda Bear,
Sandy B,
The Motions,
Faust,
The Walker Brothers,
The Wake,
Television Personalities,
8 Eyed Spy,
Lou Christie,
Swans,
Fatback Band,
Soul Sonic Force,
The Evens,
Marcia Griffiths,
Adolescents,
Lungfish,
The Gap Band,
DNA,
Hasil Adkins,
Big Daddy Kane,
Fear,
Wings,
MC5,
Bang on a Can All-Stars,
Marshall Jefferson,
Jesper Dahlbäck,
Rhythim Is Rhythim,
World's Most,
the Human League, the Human League, the Human League, the Human League.
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.