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 Dominican Republic and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Spokane and Delhi.
I'm losing my edge to the art-school Houston 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 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 Robert Wyatt to the rap 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 Michelle Simonal. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Pere Ubu 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Art Ensemble Of Chicago,
KRS-One,
Judy Mowatt,
Visionaries,LMNO, T- Love & Iriscience,
Jeru the Damaja,
Clear Light,
Flamin' Groovies,
Nico,
Sunsets and Hearts,
Richard Hell and the Voidoids,
Kevin Saunderson,
Interpol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rod Modell,
Vaughan Mason & Crew,
Flash Fearless,
Lalo Schifrin,
Quantec,
Underground Resistance,
Lou Reed & John Cale,
Gabor Szabo,
Swell Maps,
The Dirtbombs,
Lafayette Afro Rock Band,
Marmalade,
Sun Ra,
Lebanon Hanover,
L. Decosne,
Unwound,
Junior Murvin,
Quadrant,
the Swans,
Lower 48,
Yaz,
Kings Of Tomorrow,
Josef K,
Yusef Lateef,
Chris & Cosey,
Khruangbin,
Tim Buckley,
Dual Sessions,
Echospace,
Dorothy Ashby,
Maleditus Sound,
Scott Walker,
Electric Light Orchestra,
Black Bananas,
Mad Mike,
Tropical Tobacco,
Aswad,
Groovy Waters,
Excepter,
The Black Dice,
Royal Trux,
Peter Gordon & Love of Life Orchestra,
Jerry's Kids,
the Sonics,
Sandy B,
A Certain Ratio,
Lindisfarne,
The Index,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.