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 Cambodia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Woodstock 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 Lalann to the electroclash 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 Nas. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Eddi Front,
A Certain Ratio,
New Age Steppers,
Nico,
Khruangbin,
Leonard Cohen,
The Five Americans,
The Jesus and Mary Chain,
Popol Vuh,
The Durutti Column,
Rapeman,
Sight & Sound,
Rod Modell,
The Sonics,
The West Coast Pop Art Experimental Band,
Spandau Ballet,
James Chance & The Contortions,
Make Up,
Mad Mike,
Art Ensemble Of Chicago,
Robert Görl,
Charles Mingus,
One Last Wish,
Siglo XX,
Girls At Our Best!,
Carl Craig,
Symarip,
Bang on a Can All-Stars,
Aaron Thompson,
Country Teasers,
Ten City,
Vladislav Delay,
Main Source,
D'Angelo,
Siouxsie and the Banshees,
Gang Gang Dance,
Rhythm & Sound,
Television Personalities,
Animal Collective,
Pete Rock & C.L. Smooth,
Malaria!,
Oneida,
Bronski Beat,
the Sonics,
Juan Atkins,
Los Fastidios,
Barclay James Harvest,
The United States of America,
Electric Light Orchestra,
Unrelated Segments,
Visage,
Pere Ubu,
Niagra,
Piero Umiliani,
Toni Rubio,
World's Most,
Magazine,
Roger Hodgson,
Prince Buster,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.