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 Bolivia and from Mexico City.
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 1975.
I'm losing my edge.
To all the kids in London and Lyon.
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 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 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 The Gladiators to the disco kids.
I played it at Trash.
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 The Toasters. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Albert Ayler 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Newcleus,
Echo & the Bunnymen,
Kool Moe Dee,
Fear,
Altered Images,
The Jesus and Mary Chain,
X-101,
Man Parrish,
Soft Machine,
The Men They Couldn't Hang,
Jerry Gold Smith,
Section 25,
Stockholm Monsters,
Q and Not U,
Desert Stars,
The Moody Blues,
Orchestral Manoeuvres in the Dark,
Alison Limerick,
Marc Romboy vs. Booka Shade,
Cameo,
Sight & Sound,
The Birthday Party,
Bobby Hutcherson,
Bobby Sherman,
James Chance & The Contortions,
Absolute Body Control,
The Wake,
Icehouse,
Wolf Eyes,
The Fire Engines,
Negative Approach,
DJ Style,
World's Most,
Royal Trux,
Peter & Gordon,
Yaz,
The Black Dice,
Excepter,
Lyres,
Vainqueur,
Alphaville,
Reuben Wilson,
L. Decosne,
Vaughan Mason & Crew,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Selecter,
Flash Fearless,
Danielle Patucci,
The Human League,
The Angels of Light,
Joensuu 1685,
Slick Rick,
Rites of Spring,
Gang Gang Dance,
D'Angelo,
Laurel Aitken,
The Sisters of Mercy,
Godley & Creme,
Depeche Mode,
Y Pants,
Tropical Tobacco,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.