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 Colombia and from Bremen.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Beijing 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 T. Rex to the techno kids.
I played it at the Crocodile.
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 Amon Düül II. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Sex Pistols 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The West Coast Pop Art Experimental Band,
Notorious Big And Bone Thugs,
The Motions,
Delta 5,
Nas,
Hashim,
Nik Kershaw,
Sun Ra Arkestra,
Inner City,
Pylon,
The Flesh Eaters,
Bronski Beat,
Gil Scott-Heron and Jamie xx,
Chrome,
The Slackers,
Country Joe & The Fish,
The Walker Brothers,
the Soft Cell,
Kings Of Tomorrow,
X-102,
Drive Like Jehu,
the Germs,
Boredoms,
Gregory Isaacs,
Sixth Finger,
Amazonics,
Aural Exciters,
Eden Ahbez,
These Immortal Souls,
Cybotron,
Robert Wyatt,
Justin Hinds & The Dominoes,
Graham Central Station,
Harmonia,
H. Thieme,
Camouflage,
Grauzone,
ABC,
The Toasters,
Simply Red,
Kayak,
The Raincoats,
Mary Jane Girls,
London Community Gospel Choir,
LL Cool J,
Selector Dub Narcotic,
The Shadows of Knight,
Josef K,
Dawn Penn,
The Litter,
The Sound,
Matthew Bourne,
Swans,
Surgeon,
Fifty Foot Hose,
Neu!,
Marcia Griffiths,
Peter & Gordon,
Outsiders,
Minutemen,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.