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 El Salvador and from Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Taipei.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Eyeless In Gaza to the techno 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 Gories. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Excepter,
Avey Tare's Slasher Flicks,
Major Organ And The Adding Machine,
Crime,
The West Coast Pop Art Experimental Band,
Ken Boothe,
the Slits,
Sight & Sound,
Ralphi Rosario,
Pylon,
Hoover,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
The Zeros,
Los Fastidios,
Ludus,
Tres Demented,
The Walker Brothers,
Bad Manners,
Terry Callier,
Aural Exciters,
Yusef Lateef,
Johnny Clarke,
Morten Harket,
Bang On A Can,
Japan,
Robert Wyatt,
Richard Hell and the Voidoids,
K-Klass,
Albert Ayler,
Y Pants,
Banda Bassotti,
The Men They Couldn't Hang,
Tom Boy,
The Gap Band,
The Victims,
Neil Young & Crazy Horse,
R.M.O.,
Ronnie Foster,
Jimmy McGriff,
The Electric Prunes,
Oppenheimer Analysis,
Pussy Galore,
Sparks,
Gong,
Soft Cell,
Warren Ellis,
John Foxx,
Rosa Yemen,
B.T. Express,
Maurizio,
Fifty Foot Hose,
Juan Atkins,
Strawberry Alarm Clock,
Grey Daturas,
Gregory Isaacs,
The Angels of Light,
The Offenders,
Bang on a Can All-Stars,
Unwound,
Ossler,
Soul II Soul,
Sandy B, Sandy B, Sandy B, Sandy B.
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.