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 Djibouti and from Edmonton.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Houston and Beijing.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Peter and Kerry to the jazz kids.
I played it at the Roxy.
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 In Retrospect. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Warren Ellis 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Pantytec,
Captain Beefheart & His Magic Band,
Guru Guru,
Stereo Dub,
Dawn Penn,
Mark Hollis,
Easy Going,
Das Ding,
ABC,
John Holt,
Man Parrish,
DeepChord presents Echospace,
JFA,
Deepchord,
Qualms,
Robert Hood,
Alison Limerick,
Desert Stars,
The Flesh Eaters,
Shoche,
The Real Kids,
The Walker Brothers,
Bang On A Can,
David Axelrod,
Skaos,
Surgeon,
Tres Demented,
Arthur Verocai,
Drexciya,
Massinfluence,
cv313,
Goldenarms,
Crash Course in Science,
The Cramps,
Jacques Brel,
Boredoms,
Hashim,
Marc Almond,
Terry Callier,
Matthew Bourne,
Alice Coltrane,
Nils Olav,
Sixth Finger,
Nico,
Gang Gang Dance,
Sun City Girls,
Wings,
X-102,
Loose Ends,
The Smiths,
Moby Grape,
Saccharine Trust,
The American Breed,
Bobby Hutcherson,
Traffic Nightmare,
Spandau Ballet,
Ultravox,
Avey Tare,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.