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 Brunei and from Taipei.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 clarinet 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 Soulsonic Force to the jazz 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 Lizzy Mercier Descloux. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Minor Threat 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
The Last Poets,
Fela Kuti,
the Slits,
Glenn Branca,
The Human League,
Jeff Mills,
Tears for Fears,
Scrapy,
Todd Rundgren,
The Peanut Butter Conspiracy,
Fluxion,
The Doors,
The Jesus and Mary Chain,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
Tommy Roe,
Ken Boothe,
Bizarre Inc.,
Scott Walker,
Henry Cow,
The Grass Roots,
Lizzy Mercier Descloux,
Bauhaus,
The Doobie Brothers,
Scan 7,
Boredoms,
Schoolly D,
Joe Smooth,
Half Japanese,
The Busters,
Pantaleimon,
Neil Young,
Jacques Brel,
Con Funk Shun,
Bang on a Can All-Stars,
Captain Beefheart & His Magic Band,
the Association,
Grauzone,
Michelle Simonal,
Dennis Brown,
Sight & Sound,
The Fall,
Pere Ubu,
June of 44,
DeepChord presents Echospace,
The Monochrome Set,
The Invisible,
The Black Dice,
Trumans Water,
Avey Tare,
Stockholm Monsters,
The Vogues,
Delta 5,
the Swans,
Crispian St. Peters,
The Gun Club,
Lalo Schifrin,
Albert Ayler,
Sandy B,
Gregory Isaacs,
The Associates, The Associates, The Associates, The Associates.
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.