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 Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Mo-Dettes to the grime 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 X-101. All the underground hits.
All Jacob Miller 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Dual Sessions,
The Divine Comedy,
Scott Walker,
Boredoms,
Rekid,
The Shadows of Knight,
The Victims,
The Associates,
A Certain Ratio,
The Gories,
The Jesus and Mary Chain,
Jawbox,
The Cowsills,
Aswad,
Oppenheimer Analysis,
X-Ray Spex,
A Flock of Seagulls,
Ituana,
Justin Hinds & The Dominoes,
The Happenings,
Monks,
D'Angelo,
Darondo,
Echospace,
Quando Quango,
Eli Mardock,
Main Source,
Accadde A,
Iggy Pop,
Sunsets and Hearts,
Ash Ra Tempel,
John Cale,
Deepchord,
The Seeds,
Pole,
The Residents,
Rod Modell,
Pussy Galore,
Gregory Isaacs,
Erykah Badu,
Bobby Byrd,
Gang of Four,
The Vogues,
Sam Rivers,
The Detroit Cobras,
Warsaw,
Fluxion,
John Lydon,
Livin' Joy,
Stetsasonic,
Tropical Tobacco,
Eddi Front,
the Germs,
Gang Gang Dance,
Visage,
The Buckinghams,
The Offenders,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.