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 Vanuatu and from Seoul.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Lille 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 oboe 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 Ash Ra Tempel to the grunge kids.
I played it at the Troubador.
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 Rosa Yemen. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid 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?
Judy Mowatt,
Country Teasers,
Qualms,
X-101,
Kool G Rap & DJ Polo,
Desert Stars,
Glambeats Corp.,
Cecil Taylor,
Swans,
Kool Moe Dee,
Moebius,
48th St. Collective,
The United States of America,
Royal Trux,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Unwound,
Derrick Morgan,
The Velvet Underground,
The Monochrome Set,
The Pop Group,
The Selecter,
Sunsets and Hearts,
Selector Dub Narcotic,
The Move,
Pantytec,
The Chocolate Watch Band,
Absolute Body Control,
Accadde A,
the Slits,
Sällskapet,
Dr. Dre and Snoop Doggy Dog,
The Invisible,
Vaughan Mason & Crew,
Joe Finger,
Angels of Light & Akron/Family,
Massinfluence,
Reuben Wilson,
Shuggie Otis,
Brick,
Lee Hazlewood,
The Slits,
The Smiths,
Can,
Arcadia,
Eve St. Jones,
The Electric Prunes,
Wighnomy Brothers & Robag Wruhme,
Lungfish,
Mantronix,
The Techniques,
The Names,
Gabor Szabo,
Louis and Bebe Barron,
Liaisons Dangereuses,
Nico,
Nation of Ulysses,
KRS-One,
Radiohead,
Marmalade,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.