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 Tonga and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Traffic Nightmare to the jazz kids.
I played it at the Crocodile.
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 Amon Düül II. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
The Fall,
Shoche,
Drive Like Jehu,
One Last Wish,
Glambeats Corp.,
Khruangbin,
Deakin,
The Mighty Diamonds,
Can,
Bobby Womack,
Yusef Lateef,
T.S.O.L.,
Cameo,
Peter and Kerry,
Vaughan Mason & Crew,
Flash Fearless,
Patti Smith,
Theoretical Girls,
Rufus Thomas,
EPMD,
Scan 7,
Robert Hood,
Gabor Szabo,
This Heat,
Gian Franco Pienzio,
Mary Jane Girls,
Liaisons Dangereuses,
Silicon Teens,
Kenny Larkin,
Faust,
Minnie Riperton,
Donny Hathaway,
June of 44,
Half Japanese,
Quantec,
UT,
Jacob Miller,
Con Funk Shun,
Erasure,
Marvin Gaye,
Henry Cow,
Barclay James Harvest,
X-102,
Agitation Free,
Rod Modell,
Kurtis Blow,
The Cosmic Jokers,
Graham Central Station,
Don Cherry,
Masters at Work,
Todd Rundgren,
Country Joe & The Fish,
Duran Duran,
Barbara Tucker,
Lungfish,
Interpol,
Black Sheep,
OOIOO,
Sandy B,
Nas,
Roxette, Roxette, Roxette, Roxette.
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.