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 South Africa and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar 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 The Tremeloes to the funk kids.
I played it at the 40 Watt.
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 Harpers Bizarre. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thinking Fellers Union Local 282 record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Larry & the Blue Notes,
The Count Five,
Rites of Spring,
Ultimate Spinach,
Pagans,
Fat Boys,
The Victims,
The Invisible,
Joensuu 1685,
Marmalade,
Radiopuhelimet,
Godley & Creme,
Eyeless In Gaza,
MDC,
The Detroit Cobras,
Gary Puckett & The Union Gap,
Spandau Ballet,
The Fuzztones,
Be Bop Deluxe,
The American Breed,
Rod Modell,
Carl Craig,
Groovy Waters,
Supertramp,
Lyres,
Crooked Eye,
Q65,
Eddi Front,
Babytalk,
The Pop Group,
Ronan,
This Heat,
Gil Scott-Heron and Jamie xx,
Vladislav Delay,
Sly & The Family Stone,
Con Funk Shun,
Graham Central Station,
Gil Scott-Heron & Brian Jackson,
Camouflage,
The Star Department,
Alice Coltrane,
Sugar Minott,
Agent Orange,
Mo-Dettes,
Marine Girls,
The Smoke,
Scan 7,
Soft Machine,
Joey Negro,
Jeru the Damaja,
Crime,
Excepter,
Brick,
John Cale,
Thinking Fellers Union Local 282,
June of 44,
The Angels of Light,
Michelle Simonal,
Malaria!,
Sun City Girls,
Lucky Dragons,
Gian Franco Pienzio,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.