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 Chile and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Calgary.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Grandmaster Flash to the techno kids.
I played it at the Troubador.
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 L. Decosne. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Procol Harum,
Bizarre Inc.,
Second Layer,
Roy Ayers Ubiquity,
Tim Buckley,
Kerrie Biddell,
The Gories,
L. Decosne,
Fear,
Al Stewart,
Nick Fraelich,
The Leaves,
Section 25,
Johnny Clarke,
X-101,
Liaisons Dangereuses,
The J.B.'s,
The Zeros,
a-ha,
Saccharine Trust,
Camberwell Now,
Matthew Halsall,
Super Lover Cee & Casanova Rud,
Albert Ayler,
Colin Newman,
Spandau Ballet,
The Monks,
Amon Düül,
Lyres,
The Gladiators,
Drexciya,
Mary Jane Girls,
The Dave Clark Five,
John Holt,
Mad Mike,
Andrew Ashong & Theo Parrish,
Siouxsie and the Banshees,
Reuben Wilson,
Aural Exciters,
Bobby Hutcherson,
Yaz,
Rites of Spring,
The Modern Lovers,
Ash Ra Tempel,
The Jesus and Mary Chain,
The Music Machine,
Sun Ra Arkestra,
KRS-One,
Maurizio,
New Order,
Bronski Beat,
Supertramp,
Fatback Band,
Talk Talk,
The American Breed,
Panda Bear,
Todd Rundgren,
Laurel Aitken,
James White and The Blacks,
The Toasters,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.