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 Slovenia and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Busters to the techno kids.
I played it at the Roxy.
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 Liaisons Dangereuses. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Don Cherry,
Yaz,
Marshall Jefferson,
Pere Ubu,
B.T. Express,
Cybotron,
Jandek,
48th St. Collective,
Can,
Gil Scott-Heron & Brian Jackson,
Fort Wilson Riot,
Rufus Thomas,
Sunsets and Hearts,
Godley & Creme,
Peter Gordon & Love of Life Orchestra,
The Zeros,
The Toasters,
Excepter,
Traffic Nightmare,
Curtis Mayfield,
Von Mondo,
Ultimate Spinach,
Popol Vuh,
Echo & the Bunnymen,
Drexciya,
Sun Ra,
EPMD,
Bang On A Can,
MDC,
KRS-One,
Roger Hodgson,
Terry Callier,
Delon & Dalcan,
Crash Course in Science,
Gang Green,
Marcia Griffiths,
Moby Grape,
Eurythmics,
Joy Division,
Deutsch Amerikanische Freundschaft,
Matthew Bourne,
The Remains,
Swans,
Country Joe & The Fish,
Lafayette Afro Rock Band,
The Pretty Things,
Ponytail,
Guru Guru,
Black Bananas,
E-Dancer,
The Count Five,
Pagans,
Gian Franco Pienzio,
Gil Scott-Heron and Jamie xx,
The Evens,
Magazine,
Al Stewart,
Minor Threat,
Stiv Bators,
Jawbox,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.