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 New Zealand and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Letta Mbulu to the jazz 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 Sugar Minott. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
The Litter,
Radiopuhelimet,
Niagra,
the Swans,
The Grass Roots,
Bang on a Can All-Stars,
Rod Modell,
Hashim,
kango's stein massive,
Manfred Mann's Earth Band,
Chrome,
Bobby Womack,
Dawn Penn,
CMW,
Traffic Nightmare,
Girls At Our Best!,
Rotary Connection,
Sandy B,
Pole,
Roy Ayers,
Piero Umiliani,
Zero Boys,
Ultramagnetic MC's,
Mr. Review,
The Kinks,
Juan Atkins,
John Foxx,
Gang of Four,
Royal Trux,
The Toasters,
Bill Near,
Ultravox,
Lizzy Mercier Descloux,
Gregory Isaacs,
Kayak,
Hot Snakes,
Gary Puckett & The Union Gap,
Deadbeat,
Liaisons Dangereuses,
Ronan,
Marvin Gaye,
Jesper Dahlback,
Aural Exciters,
The Blues Magoos,
Kool G Rap & DJ Polo,
Roxy Music,
The Young Rascals,
Metal Thangz,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Newcleus,
Soft Machine,
Bauhaus,
Massinfluence,
New Age Steppers,
Von Mondo,
cv313,
The Divine Comedy,
Soft Cell,
Funkadelic,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.