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 Tuvalu and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Slick Rick to the disco 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 Lou Reed & Metallica. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Laurel Aitken 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Prince Buster,
Sunsets and Hearts,
Massinfluence,
Ituana,
Archie Shepp,
Spandau Ballet,
Eli Mardock,
Neil Young & Crazy Horse,
E-Dancer,
New Order,
The Busters,
Tom Boy,
Susan Cadogan,
Chris Corsano,
Amazonics,
Echospace,
Depeche Mode,
The Sound,
Nation of Ulysses,
Peter & Gordon,
Donald Byrd,
Aswad,
Gary Puckett & The Union Gap,
Lightning Bolt,
Eve St. Jones,
Japan,
Whodini,
Grey Daturas,
The Doobie Brothers,
Moby Grape,
Reagan Youth,
Marmalade,
The Detroit Cobras,
Roy Ayers,
Sexual Harrassment,
The Smoke,
Jawbox,
Mars,
It's A Beautiful Day,
The Techniques,
Simply Red,
Swell Maps,
James White and The Blacks,
A Certain Ratio,
Kas Product,
The Slits,
Ten City,
Khruangbin,
Jesper Dahlback,
Joe Finger,
Alton Ellis,
Talk Talk,
Eyeless In Gaza,
PIL,
Dead Boys,
Black Moon,
Thinking Fellers Union Local 282,
Bill Near,
Absolute Body Control,
Fluxion,
Aloha Tigers,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.