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 Austria and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Metal Thangz to the rap kids.
I played it at the Hacienda.
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 Man Parrish. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal punk 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Pole,
R.M.O.,
Warren Ellis,
The Misunderstood,
Eric Dolphy,
The Remains,
Arthur Verocai,
cv313,
The Pop Group,
The Gap Band,
B.T. Express,
The Happenings,
Khruangbin,
Excepter,
Goldenarms,
Gerry Rafferty,
Harpers Bizarre,
Bobbi Humphrey,
The Neon Judgement,
Liaisons Dangereuses,
Chris Corsano,
World's Most,
Leonard Cohen,
Symarip,
Röyhkä ja Rättö ja Lehtisalo,
Stereo Dub,
Ronan,
Dual Sessions,
X-101,
Loose Ends,
Nils Olav,
Marc Romboy vs. Booka Shade,
Animal Collective,
T.S.O.L.,
Sly & The Family Stone,
Easy Going,
Severed Heads,
Lafayette Afro Rock Band,
La Düsseldorf,
Kerri Chandler,
Morten Harket,
Mr. Review,
Albert Ayler,
Vladislav Delay,
Matthew Halsall,
Radiohead,
Marc Almond,
Orchestral Manoeuvres in the Dark,
a-ha,
Nas,
Gastr Del Sol,
The United States of America,
Accadde A,
Hot Snakes,
Average White Band,
Gil Scott Heron,
Anakelly,
Duran Duran,
Kango’s Stein Massive,
Jeru the Damaja,
DJ Style,
Grey Daturas,
June of 44,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.