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 Bulgaria 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 1967 to 1970.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Lyres to the jazz 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 Gastr Del Sol. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Ash Ra Tempel,
Lee Hazlewood,
Altered Images,
Crooked Eye,
Deepchord,
Curtis Mayfield,
The Wake,
Roxette,
Wolf Eyes,
Swell Maps,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
Judy Mowatt,
Audionom,
Bush Tetras,
Lebanon Hanover,
Television Personalities,
Eve St. Jones,
Cecil Taylor,
Television,
The Gap Band,
Alphaville,
Lafayette Afro Rock Band,
The Chocolate Watch Band,
Joyce Sims,
Manfred Mann's Earth Band,
Sun Ra,
Rites of Spring,
The Litter,
Andrew Hill,
Moebius,
The American Breed,
Major Organ And The Adding Machine,
Joe Finger,
Radio Birdman,
Bauhaus,
The Dirtbombs,
Echospace,
Colin Newman,
One Last Wish,
Röyhkä ja Rättö ja Lehtisalo,
Lonnie Liston Smith,
Nirvana,
Pole,
Sex Pistols,
Whodini,
John Lydon,
Rod Modell,
Tommy Roe,
Derrick Morgan,
Unrelated Segments,
Crispy Ambulance,
Anakelly,
Josef K,
Barbara Tucker,
The Vogues,
Gian Franco Pienzio,
Warren Ellis,
Stetsasonic,
Cal Tjader,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.