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 Ivory Coast and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Roy Ayers Ubiquity to the electroclash kids.
I played it at the Spitz.
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 New York Dolls. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Major Organ And The Adding Machine,
Cameo,
Albert Ayler,
Laurel Aitken,
Sam Rivers,
Aural Exciters,
Gong,
Zero Boys,
Toni Rubio,
Sad Lovers and Giants,
Black Moon,
Anakelly,
Carl Craig,
Archie Shepp,
Khruangbin,
Marmalade,
The Seeds,
Country Teasers,
Japan,
Judy Mowatt,
Visage,
DJ Sneak,
The Moleskins,
The Music Machine,
Scott Walker,
Brand Nubian,
Siouxsie and the Banshees,
Yusef Lateef,
Donny Hathaway,
R.M.O.,
Roger Hodgson,
Heavy D & The Boyz,
Talk Talk,
D'Angelo,
Aswad,
The Martian,
the Bar-Kays,
Sunsets and Hearts,
Danielle Patucci,
Rotary Connection,
Leonard Cohen,
Grauzone,
Mary Jane Girls,
Echo & the Bunnymen,
Circle Jerks,
Yaz,
Organ,
Lindisfarne,
The Fire Engines,
Yazoo,
Glenn Branca,
The Men They Couldn't Hang,
In Retrospect,
Marvin Gaye,
The Jesus and Mary Chain,
London Community Gospel Choir,
Infiniti,
Barry Ungar,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.