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 Benin and from Lagos.
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 1962 to 1971.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Can to the funk 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 James White and The Blacks. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Fifty Foot Hose 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Visage,
Roy Ayers Ubiquity,
Pharoah Sanders,
Theoretical Girls,
Franke,
In Retrospect,
The Leaves,
Dark Day,
Rod Modell,
Junior Murvin,
Prince Buster,
Soft Cell,
Aural Exciters,
Gian Franco Pienzio,
Pharaoh Sanders and the Fire Engines,
Jandek,
Moby Grape,
cv313,
Alison Limerick,
The Peanut Butter Conspiracy,
Bizarre Inc.,
Organ,
E-Dancer,
MDC,
X-102,
Scrapy,
Drive Like Jehu,
Big Daddy Kane,
Jerry Gold Smith,
JFA,
D'Angelo,
Agent Orange,
The Red Krayola,
Amon Düül II,
Joyce Sims,
Sugar Minott,
Hashim,
Sonic Youth,
Nik Kershaw,
Spoonie Gee,
Erasure,
Fugazi,
Sound Behaviour,
Tres Demented,
Pantaleimon,
Charles Mingus,
Deakin,
The Techniques,
It's A Beautiful Day,
Quando Quango,
The Mojo Men,
Boz Scaggs,
Sparks,
Monolake,
Sällskapet,
Al Stewart,
Marc Romboy vs. Booka Shade,
Albert Ayler,
Jesper Dahlback,
Nirvana,
Jawbox,
Skriet,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.