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 Canada and from Stockholm.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Deutsch Amerikanische Freundschaft to the electroclash kids.
I played it at the Troubador.
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 Livin' Joy. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Main Source,
Wighnomy Brothers & Robag Wruhme,
Liliput,
Bizarre Inc.,
Angry Samoans,
Banda Bassotti,
New York Dolls,
ABBA,
Quando Quango,
Slave,
Man Parrish,
Chrome,
Electric Prunes,
The Grass Roots,
Ituana,
Vladislav Delay,
Thee Headcoats,
Smog,
Derrick Morgan,
The Monks,
Fluxion,
Archie Shepp,
Deakin,
LL Cool J,
June Days,
the Swans,
Zero Boys,
Symarip,
cv313,
Kauko Röyhkä ja Narttu,
Ronnie Foster,
The Saints,
Crispy Ambulance,
Eddi Front,
Yazoo,
FM Einheit,
Kango’s Stein Massive,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Whodini,
Barclay James Harvest,
The Moleskins,
Loose Ends,
Bobby Womack,
the Fania All-Stars,
Gil Scott Heron,
Nick Fraelich,
The Doobie Brothers,
Max Romeo,
Au Pairs,
The Sound,
Tubeway Army,
The Searchers,
Robert Wyatt,
Tomorrow,
10cc,
Nils Olav,
Bauhaus,
The Detroit Cobras,
Laurel Aitken,
Black Flag, Black Flag, Black Flag, Black Flag.
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.