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 Vanuatu and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Paris.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Gregory Isaacs to the jazz kids.
I played it at CBGB's.
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 Terrestrial Tones. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Marvin Gaye,
Faraquet,
Gong,
Porter Ricks,
Strawberry Alarm Clock,
Kevin Saunderson,
Jacob Miller,
PIL,
Lou Reed,
Brick,
David Bowie,
Rosa Yemen,
Deadbeat,
These Immortal Souls,
Joy Division,
Ponytail,
Rapeman,
Arthur Verocai,
Newcleus,
B.T. Express,
Harry Pussy,
Quadrant,
Khruangbin,
Hasil Adkins,
Kas Product,
The Dead C,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
F. McDonald,
Cameo,
Robert Görl,
Depeche Mode,
The Star Department,
Panda Bear,
Kurtis Blow,
Jeff Mills,
Radio Birdman,
ABC,
Dr. Dre and Snoop Doggy Dog,
Trumans Water,
Camberwell Now,
Oneida,
Young Marble Giants,
D'Angelo,
the Slits,
Pantytec,
Bush Tetras,
Jawbox,
Crash Course in Science,
Section 25,
Peter and Kerry,
Joe Smooth,
Wally Richardson,
Lou Reed & Metallica,
The Dirtbombs,
T.S.O.L.,
Black Moon,
Girls At Our Best!,
Gian Franco Pienzio,
Iggy Pop,
Oblivians,
The Sound, The Sound, The Sound, The Sound.
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.