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 Taiwan and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Ultramagnetic MC's to the punk kids.
I played it at the Crocodile.
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 The Young Rascals. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every the Bar-Kays 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Roy Ayers,
Newcleus,
Blossom Toes,
Peter Gordon & Love of Life Orchestra,
Ultravox,
Fifty Foot Hose,
Big Daddy Kane,
Bobby Byrd,
Soul II Soul,
These Immortal Souls,
Radiohead,
Junior Murvin,
Albert Ayler,
Quantec,
Negative Approach,
Crooked Eye,
Dennis Brown,
Franke,
Scott Walker,
F. McDonald,
Wally Richardson,
Sun Ra Arkestra,
Unwound,
Jacques Brel,
Mars,
DNA,
David Axelrod,
Zero Boys,
Gian Franco Pienzio,
Lakeside,
Aswad,
Masters at Work,
AZ,
Warren Ellis,
The Dirtbombs,
Hoover,
The Fall,
Sly & The Family Stone,
Make Up,
Jimmy McGriff,
Bush Tetras,
Gerry Rafferty,
a-ha,
X-101,
Fela Kuti,
Urselle,
Rapeman,
Bill Wells,
Eric B and Rakim,
Main Source,
Sister Nancy,
Gang Gang Dance,
This Heat,
Derrick May,
Ultimate Spinach,
Scientists,
Pylon,
cv313,
Idris Muhammad,
Royal Trux,
Tears for Fears,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.