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 Mexico and from Salvador.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Mumbai and London.
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 rhodes 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 Vaughan Mason & Crew to the rap kids.
I played it at Cafe Wha.
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 Curtis Mayfield. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Khruangbin,
These Immortal Souls,
Guru Guru,
Excepter,
Lizzy Mercier Descloux,
Rapeman,
Röyhkä ja Rättö ja Lehtisalo,
The Associates,
Avey Tare's Slasher Flicks,
Joensuu 1685,
Marc Romboy vs. Booka Shade,
Urselle,
Qualms,
The Count Five,
Man Parrish,
Fluxion,
Bush Tetras,
Warren Ellis,
Faraquet,
John Foxx,
Hardrive,
Aural Exciters,
The Saints,
Lou Reed,
Bill Near,
La Düsseldorf,
James Chance & The Contortions,
Barclay James Harvest,
Motorama,
Davy DMX,
Andrew Ashong & Theo Parrish,
Little Man,
Isaac Hayes,
Anthony Braxton,
Prince Buster,
Vainqueur,
Radiohead,
Hasil Adkins,
The Monochrome Set,
Black Moon,
Nick Cave & The Bad Seeds,
New Age Steppers,
U.S. Maple,
Danielle Patucci,
Marine Girls,
Interpol,
Ronnie Foster,
Nico,
Gil Scott Heron,
Jacques Brel,
The Mojo Men,
Brand Nubian,
Kauko Röyhkä ja Narttu,
Tim Buckley,
Soulsonic Force,
Nation of Ulysses,
L. Decosne,
X-Ray Spex,
Roxette,
Jeff Mills,
Radiopuhelimet,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.