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 Ukraine and from Accra.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
I'm losing my edge to the art-school Madrid 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Sexual Harrassment to the rap 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 The Star Department. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Cecil Taylor 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Index,
Section 25,
Nick Fraelich,
Gian Franco Pienzio,
Jeff Mills,
Manfred Mann's Earth Band,
Eden Ahbez,
Au Pairs,
Liliput,
ABC,
Duran Duran,
Supertramp,
Rekid,
Siglo XX,
MDC,
Radio Birdman,
Charles Mingus,
Sun City Girls,
H. Thieme,
Piero Umiliani,
Con Funk Shun,
Justin Hinds & The Dominoes,
Clear Light,
Hoover,
David Axelrod,
Subhumans,
JFA,
Dawn Penn,
Panda Bear,
Henry Cow,
Brothers Johnson,
Bobby Byrd,
ABBA,
Gary Puckett & The Union Gap,
Skaos,
Carl Craig,
Neu!,
Mantronix,
Chrome,
Traffic Nightmare,
The Dirtbombs,
Pete Rock & C.L. Smooth,
Harpers Bizarre,
R.M.O.,
Stiv Bators,
Japan,
Pharaoh Sanders and the Fire Engines,
Basic Channel,
Eve St. Jones,
The Detroit Cobras,
Y Pants,
Gabor Szabo,
Scientists,
The Grass Roots,
Stereo Dub,
Sun Ra,
Wighnomy Brothers & Robag Wruhme,
Strawberry Alarm Clock,
Sixth Finger,
the Fania All-Stars,
Popol Vuh,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.