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 Benin and from Houston.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 John Coltrane to the electroclash kids.
I played it at the Troubador.
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 The Offenders. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Rod Modell,
John Lydon,
The Busters,
Matthew Bourne,
Avey Tare's Slasher Flicks,
B.T. Express,
the Normal,
Soul II Soul,
Avey Tare & Kría Brekkan,
The Mighty Diamonds,
Gang Gang Dance,
Angels of Light & Akron/Family,
Young Marble Giants,
the Sonics,
Patti Smith,
Bang On A Can,
The Golliwogs,
Minny Pops,
Davy DMX,
Nik Kershaw,
James Chance & The Contortions,
China Crisis,
Juan Atkins,
Robert Görl,
The Royal Family And The Poor,
Joy Division,
Tropical Tobacco,
K-Klass,
Make Up,
Rahsaan Roland Kirk,
Marmalade,
Traffic Nightmare,
The Litter,
Howard Jones,
Alphaville,
Thompson Twins,
Jawbox,
Lightning Bolt,
Louis and Bebe Barron,
The Associates,
R.M.O.,
Alison Limerick,
Freddie Wadling,
Yellowson,
Byron Stingily,
The Names,
Dawn Penn,
The Happenings,
Black Sheep,
Icehouse,
Cecil Taylor,
Roxette,
Metal Thangz,
Japan,
The Smoke,
Art Ensemble Of Chicago,
The Misunderstood,
Arab on Radar,
Bootsy's Rubber Band,
Surgeon,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.