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 Costa Rica and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Beijing.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 The Names to the electroclash 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 Yaz. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Ossler,
The Sound,
Country Joe & The Fish,
The Blackbyrds,
The Residents,
Slave,
Jesper Dahlbäck,
Ajijia Myrayebe,
The Flesh Eaters,
Notorious BIG live in Amsterdam,
LL Cool J,
The Blues Magoos,
Sight & Sound,
Yusef Lateef,
10cc,
the Human League,
L. Decosne,
The Searchers,
Eyeless In Gaza,
Judy Mowatt,
Andrew Ashong & Theo Parrish,
Mo-Dettes,
Television Personalities,
The Walker Brothers,
Curtis Mayfield,
Erykah Badu,
Blake Baxter,
Monks,
Bang on a Can All-Stars,
Man Eating Sloth,
Sun City Girls,
Derrick May,
Eve St. Jones,
The Monochrome Set,
Pantaleimon,
Grauzone,
Von Mondo,
Erasure,
Girls At Our Best!,
Scratch Acid,
Henry Cow,
Jesper Dahlback,
Wire,
Delta 5,
Siouxsie and the Banshees,
Altered Images,
Babytalk,
Blossom Toes,
Davy DMX,
Scientists,
Stetsasonic,
Cabaret Voltaire,
Sunsets and Hearts,
The Selecter,
Mars,
The Knickerbockers,
The Busters,
Joy Division,
X-Ray Spex,
Tom Boy,
Peter and Kerry,
Yaz, Yaz, Yaz, Yaz.
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.