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 Cape Verde and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Houston and Copenhagen.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Throbbing Gristle to the disco 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 Bob Dylan. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Country Joe & The Fish,
Gil Scott Heron,
X-101,
Alison Limerick,
Lalann,
Harry Pussy,
Cabaret Voltaire,
Harpers Bizarre,
Tubeway Army,
Deepchord,
Yusef Lateef,
PIL,
Colin Newman,
Desert Stars,
Kango’s Stein Massive,
Donny Hathaway,
Average White Band,
The Monks,
Pharaoh Sanders and the Fire Engines,
Ultra Naté,
T. Rex,
Super Lover Cee & Casanova Rud,
Echospace,
Nirvana,
D'Angelo,
Maurizio,
The Remains,
Todd Rundgren,
H. Thieme,
Echo & the Bunnymen,
Y Pants,
Infiniti,
Peter Gordon & Love of Life Orchestra,
Audionom,
Bang on a Can All-Stars,
Minny Pops,
Sun Ra Arkestra,
Rahsaan Roland Kirk,
Bronski Beat,
Vladislav Delay,
the Sonics,
Tommy Roe,
Soft Cell,
Liliput,
Radio Birdman,
Moebius,
Gil Scott-Heron and Jamie xx,
Traffic Nightmare,
Oblivians,
Sällskapet,
The Electric Prunes,
The Martian,
The Alarm Clocks,
Judy Mowatt,
Ossler,
Shuggie Otis,
Notorious BIG live in Amsterdam,
Roy Ayers Ubiquity,
Byron Stingily,
Harmonia,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.