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 East Timor and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Accra 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 spring reverb 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 John Coltrane to the electroclash kids.
I played it at the Troubador.
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 Fatback Band. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Trumans Water record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Bill Wells,
Matthew Bourne,
Brass Construction,
Nik Kershaw,
Strawberry Alarm Clock,
Masters at Work,
Monks,
Surgeon,
The Shadows of Knight,
Dual Sessions,
Agitation Free,
Little Man,
Soft Cell,
Boz Scaggs,
Popol Vuh,
Kango’s Stein Massive,
Sonny Sharrock,
Archie Shepp,
Vladislav Delay,
Guru Guru,
Pharaoh Sanders and the Fire Engines,
Mark Hollis,
Bootsy's Rubber Band,
Animal Collective,
Pantaleimon,
Sound Behaviour,
Vainqueur,
Von Mondo,
Dawn Penn,
Lafayette Afro Rock Band,
DNA,
Grey Daturas,
Nico,
The Red Krayola,
Fad Gadget,
Nas,
Ice-T,
Peter and Kerry,
Blossom Toes,
FM Einheit,
Bronski Beat,
Spandau Ballet,
H. Thieme,
X-102,
Fela Kuti,
Lou Reed & John Cale,
The Residents,
Fluxion,
Kool G Rap & DJ Polo,
The Divine Comedy,
Super Lover Cee & Casanova Rud,
Wings,
Eric B and Rakim,
Terry Callier,
Patti Smith,
The Saints,
Sällskapet,
The Fuzztones,
KRS-One,
Soul II Soul,
Sticky Fingaz feat. Raekwon,
New York Dolls,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.