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 Cameroon and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Kool G Rap & DJ Polo to the disco kids.
I played it at Trash.
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 Cheater Slicks. All the underground hits.
All Mars 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 grunge 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Janne Schatter,
Arthur Verocai,
Tears for Fears,
Lalo Schifrin,
Spandau Ballet,
Josef K,
Crispian St. Peters,
Morten Harket,
The Music Machine,
Arcadia,
The Mummies,
Aaron Thompson,
Scion,
Das Ding,
Lizzy Mercier Descloux,
Gregory Isaacs,
Animal Collective,
The Skatalites,
Barclay James Harvest,
The Pretty Things,
Gian Franco Pienzio,
The Doobie Brothers,
The Gladiators,
Flamin' Groovies,
John Cale,
Ponytail,
Kauko Röyhkä ja Narttu,
John Coltrane,
Tubeway Army,
Roy Ayers Ubiquity,
Procol Harum,
Howard Jones,
Bush Tetras,
Jawbox,
The Kinks,
Faust,
Rakim,
Subhumans,
Suburban Knight,
Maurizio,
La Düsseldorf,
the Swans,
Marine Girls,
Gastr Del Sol,
Pole,
Swans,
Avey Tare's Slasher Flicks,
The Blackbyrds,
Lou Reed,
Super Lover Cee & Casanova Rud,
Eden Ahbez,
Lafayette Afro Rock Band,
Drive Like Jehu,
Country Joe & The Fish,
Marmalade,
These Immortal Souls,
Rekid,
Radio Birdman,
DJ Style, DJ Style, DJ Style, DJ Style.
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.