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 Latvia and from Manchester.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Jacques Brel to the jazz kids.
I played it at CBGB's.
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 Joe Finger. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a chamberlin 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 guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Arab on Radar,
Todd Terry,
Kas Product,
Sexual Harrassment,
Man Eating Sloth,
The Slackers,
Dennis Brown,
The Doors,
Derrick Morgan,
It's A Beautiful Day,
The Velvet Underground,
DJ Style,
Desert Stars,
OOIOO,
Pantytec,
The Gladiators,
Chris Corsano,
FM Einheit,
The Motions,
The Smiths,
Lalann,
Avey Tare & Kría Brekkan,
F. McDonald,
Aaron Thompson,
The Fire Engines,
Wighnomy Brothers & Robag Wruhme,
Slave,
The Mojo Men,
Lou Reed,
The Names,
Section 25,
Bluetip,
Cluster,
The Index,
Fluxion,
Byron Stingily,
Red Lorry Yellow Lorry,
Public Enemy,
MDC,
Electric Prunes,
Gichy Dan,
Bauhaus,
Stockholm Monsters,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
Con Funk Shun,
Flipper,
Lucky Dragons,
Maurizio,
The American Breed,
Lindisfarne,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
CMW,
Trumans Water,
Babytalk,
Graham Central Station,
John Foxx,
Sight & Sound,
Surgeon,
Index,
Siglo XX,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.