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 Mauritius and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Toronto 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 theremin 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 Pierre Henry to the punk kids.
I played it at Cafe Wha.
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 Joyce Sims. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Arab on Radar 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 '60s cut and another box set from the '80s.
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 Talk Talk record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Colin Newman,
Mary Jane Girls,
The Neon Judgement,
B.T. Express,
Sound Behaviour,
Curtis Mayfield,
the Soft Cell,
Kevin Saunderson,
Rapeman,
Maurizio,
Pharoah Sanders,
Arab on Radar,
AZ,
Gregory Isaacs,
Bobbi Humphrey,
Yaz,
The Leaves,
Terrestrial Tones,
Lungfish,
Babytalk,
Parry Music,
Andrew Ashong & Theo Parrish,
Bill Near,
Lebanon Hanover,
Fifty Foot Hose,
Gang Green,
ABC,
Underground Resistance,
The Modern Lovers,
Lakeside,
Tomorrow,
Hasil Adkins,
Amazonics,
Jerry's Kids,
New Age Steppers,
Visionaries,LMNO, T- Love & Iriscience,
The Kinks,
James White and The Blacks,
Marc Romboy vs. Booka Shade,
Anakelly,
The Cramps,
Khruangbin,
Chrome,
Barbara Tucker,
Adolescents,
Gong,
Camberwell Now,
Tim Buckley,
Livin' Joy,
Todd Terry,
The Vogues,
Gabor Szabo,
Duran Duran,
MDC,
Steve Hackett,
Groovy Waters,
Flamin' Groovies,
China Crisis,
Patti Smith,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.