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 Comoros and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Mexico City 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 Lou Reed 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 Camouflage to the rock kids.
I played it at the Astoria.
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 X-Ray Spex. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive 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?
Judy Mowatt,
Kas Product,
Rufus Thomas,
Lower 48,
Lakeside,
Oneida,
John Coltrane,
AZ,
Grauzone,
Cameo,
Section 25,
Roy Ayers,
Liliput,
Panda Bear,
Iggy Pop,
Pantytec,
Dead Boys,
Black Bananas,
Brass Construction,
Traffic Nightmare,
Brand Nubian,
Eric B and Rakim,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Aloha Tigers,
Deakin,
Tres Demented,
Buzzcocks,
New Order,
The United States of America,
Fela Kuti,
Andrew Ashong & Theo Parrish,
Jandek,
New York Dolls,
Terry Callier,
Sam Rivers,
Blancmange,
Spoonie Gee,
Rod Modell,
Sad Lovers and Giants,
Siglo XX,
Fifty Foot Hose,
Popol Vuh,
Radio Birdman,
Parry Music,
David Bowie,
Scientists,
The Black Dice,
Richard Hell and the Voidoids,
The Dirtbombs,
The Invisible,
Nils Olav,
Sarah Menescal,
Gang Gang Dance,
Khruangbin,
June Days,
Prince Buster,
Hasil Adkins,
Echo & the Bunnymen,
Black Moon,
Morten Harket,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.