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 Denmark and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Q65 to the funk kids.
I played it at the Roxy.
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 James Chance & The Contortions. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every The Fire Engines 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
48th St. Collective,
The Residents,
Idris Muhammad,
The New Christs,
Terry Callier,
Lou Christie,
The Durutti Column,
Marvin Gaye,
Henry Cow,
Underground Resistance,
Deakin,
Procol Harum,
Nirvana,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Slave,
Letta Mbulu,
Bill Near,
Sam Rivers,
Piero Umiliani,
Gichy Dan,
The Smoke,
The Toasters,
Notorious Big And Bone Thugs,
New York Dolls,
Loose Ends,
Warren Ellis,
Model 500,
The Smiths,
Intrusion,
Selector Dub Narcotic,
Sällskapet,
Brand Nubian,
Bobby Hutcherson,
Trumans Water,
Kerri Chandler,
Ice-T,
Sixth Finger,
Camberwell Now,
Masters at Work,
Dark Day,
The Victims,
Mark Hollis,
Darondo,
Fad Gadget,
Sex Pistols,
Amazonics,
Niagra,
Major Organ And The Adding Machine,
Kango’s Stein Massive,
Bill Wells,
Accadde A,
Yusef Lateef,
Chris & Cosey,
Gang Starr,
Bootsy's Rubber Band,
Easy Going,
H. Thieme,
Toni Rubio,
Depeche Mode,
Scott Walker,
Marcia Griffiths,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.