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 Papua New Guinea and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Intrusion to the rap 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 Angels of Light & Akron/Family. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Oneida 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Bill Wells,
Jacob Miller,
X-Ray Spex,
Y Pants,
Faraquet,
X-101,
The Angels of Light,
DJ Style,
Bobby Womack,
Radiopuhelimet,
Todd Rundgren,
Brothers Johnson,
Marmalade,
Skarface,
Sun Ra,
London Community Gospel Choir,
Young Marble Giants,
The Fortunes,
Grandmaster Flash and the Furious Five,
Youth Brigade,
ABC,
the Fania All-Stars,
Bobby Byrd,
Technova,
Echospace,
Wings,
The Real Kids,
Andrew Ashong & Theo Parrish,
Japan,
The Stooges,
The Divine Comedy,
Dennis Brown,
Von Mondo,
John Lydon,
Glenn Branca,
Flash Fearless,
Massinfluence,
Sex Pistols,
Bush Tetras,
Das Ding,
Audionom,
Kurtis Blow,
Big Daddy Kane,
Matthew Halsall,
La Düsseldorf,
Rahsaan Roland Kirk,
Notorious Big And Bone Thugs,
Alice Coltrane,
Robert Hood,
Sarah Menescal,
Icehouse,
Hot Snakes,
Khruangbin,
Camouflage,
EPMD,
The Moody Blues,
In Retrospect,
The Men They Couldn't Hang,
Lower 48,
Agitation Free,
Chris & Cosey,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.