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 Kiribati and from Salvador.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
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 sitar 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 The Fuzztones to the punk 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 Rahsaan Roland Kirk. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Terry Callier,
Procol Harum,
Dave Gahan,
Infiniti,
Barrington Levy,
David McCallum,
Average White Band,
Andrew Hill,
Ronnie Foster,
Nik Kershaw,
Trumans Water,
48th St. Collective,
Drexciya,
Don Cherry,
The West Coast Pop Art Experimental Band,
Juan Atkins,
Frankie Knuckles,
Boredoms,
La Düsseldorf,
Audionom,
World's Most,
The Kinks,
Al Stewart,
Theoretical Girls,
Camouflage,
Joyce Sims,
Banda Bassotti,
Buzzcocks,
Nick Fraelich,
Sparks,
Jesper Dahlbäck,
Camberwell Now,
Althea and Donna,
Amon Düül II,
Jeff Mills,
China Crisis,
Deepchord,
The Techniques,
Bootsy Collins,
Eddi Front,
Hoover,
Eden Ahbez,
L. Decosne,
The Index,
Wasted Youth,
Technova,
Tropical Tobacco,
Cameo,
Pulsallama,
Visage,
Lebanon Hanover,
Kevin Saunderson,
Make Up,
Fifty Foot Hose,
Sun Ra,
The Flesh Eaters,
Magma,
Au Pairs,
The Dave Clark Five,
Rahsaan Roland Kirk,
the Bar-Kays,
Yaz,
Anthony Braxton,
Ice-T, Ice-T, Ice-T, Ice-T.
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.