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 Brazil and from Woodstock.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the harpsichord 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 Wasted Youth to the funk 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 Crime. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Mr. Review 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Half Japanese,
Louis and Bebe Barron,
Bob Dylan,
F. McDonald,
Henry Cow,
Joyce Sims,
Blancmange,
DJ Sneak,
Swans,
Schoolly D,
Crash Course in Science,
John Foxx,
Little Man,
The Dirtbombs,
Lizzy Mercier Descloux,
The Smoke,
Deutsch Amerikanische Freundschaft,
Gregory Isaacs,
Cal Tjader,
the Sonics,
Bluetip,
Parry Music,
These Immortal Souls,
Marcia Griffiths,
Niagra,
Faust,
Japan,
Nas,
The Evens,
Yazoo,
Ultramagnetic MC's,
Janne Schatter,
Juan Atkins,
Tubeway Army,
Peter and Kerry,
Be Bop Deluxe,
Tomorrow,
Max Romeo,
Neil Young,
Gang Green,
a-ha,
Captain Beefheart & His Magic Band,
Skaos,
Ken Boothe,
the Human League,
The Slackers,
New York Dolls,
Terrestrial Tones,
Selector Dub Narcotic,
Fifty Foot Hose,
Flipper,
Andrew Ashong & Theo Parrish,
Qualms,
Wally Richardson,
Warsaw,
Radiopuhelimet,
Faraquet,
The Golliwogs,
Whodini,
The Sisters of Mercy,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.