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 Sudan and from Salvador.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Portland 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 808 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 Desert Stars to the techno kids.
I played it at Cafe Wha.
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 Five Americans. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Supertramp,
Robert Wyatt,
Eli Mardock,
Henry Cow,
Aural Exciters,
Peter & Gordon,
The Victims,
Sparks,
These Immortal Souls,
Aswad,
The Tremeloes,
F. McDonald,
The Evens,
Bobby Hutcherson,
The Music Machine,
Lightning Bolt,
Ash Ra Tempel,
The Alarm Clocks,
The Angels of Light,
Joe Smooth,
Bobby Womack,
Underground Resistance,
Eden Ahbez,
The Electric Prunes,
Leonard Cohen,
Gichy Dan,
Jacob Miller,
Lalo Schifrin,
Arab on Radar,
Section 25,
Camouflage,
Drexciya,
Animal Collective,
Terry Callier,
The Saints,
Rufus Thomas,
Al Stewart,
D'Angelo,
Outsiders,
Junior Murvin,
The Associates,
Grandmaster Flash,
The Fuzztones,
Crash Course in Science,
Spandau Ballet,
Graham Central Station,
The Wake,
Brass Construction,
Prince Buster,
Mr. Review,
The Divine Comedy,
The Trojans,
the Germs,
Malaria!,
The Cosmic Jokers,
Robert Görl,
Moss Icon,
Darondo,
Gil Scott Heron,
Con Funk Shun,
Avey Tare,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.