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 Madagascar and from Jakarta.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Ornette Coleman to the punk 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 Mark Hollis. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal rock 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 organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Kool Moe Dee,
Maurizio,
Oblivians,
Wolf Eyes,
Ponytail,
Severed Heads,
Maleditus Sound,
Neil Young & Crazy Horse,
Spandau Ballet,
Super Lover Cee & Casanova Rud,
Sonic Youth,
Dr. Dre and Snoop Doggy Dog,
Porter Ricks,
Soft Machine,
Bizarre Inc.,
Roy Ayers,
Harpers Bizarre,
Bobbi Humphrey,
Funky Four + One,
Shoche,
The Fall,
Rahsaan Roland Kirk,
The Barracudas,
F. McDonald,
Lalann,
Deutsch Amerikanische Freundschaft,
Lindisfarne,
The Knickerbockers,
Pharoah Sanders,
Eric B and Rakim,
Gang of Four,
Kevin Saunderson,
The Associates,
Amon Düül II,
The Saints,
Chris Corsano,
Scientists,
Intrusion,
The Beau Brummels,
Brothers Johnson,
The West Coast Pop Art Experimental Band,
Scratch Acid,
Prince Buster,
Television Personalities,
Crash Course in Science,
Franke,
Echo & the Bunnymen,
Sight & Sound,
Pere Ubu,
Larry & the Blue Notes,
Pylon,
Depeche Mode,
Eli Mardock,
A Certain Ratio,
Rod Modell,
Magma,
Yellowson,
The Leaves,
Skriet,
Monolake, Monolake, Monolake, Monolake.
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.