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 Taiwan and from Beijing.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Glasgow 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Banda Bassotti to the techno 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 Avey Tare's Slasher Flicks. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Desert Stars 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Los Fastidios,
Interpol,
Angels of Light & Akron/Family,
Massinfluence,
Crispian St. Peters,
Pagans,
The Dirtbombs,
Theoretical Girls,
David McCallum,
Cybotron,
Masters at Work,
The Grass Roots,
The Barracudas,
Deadbeat,
Pere Ubu,
Surgeon,
Sarah Menescal,
The Monks,
Jesper Dahlbäck,
Steve Hackett,
Dead Boys,
Matthew Halsall,
Gil Scott-Heron and Jamie xx,
Jandek,
Todd Rundgren,
Aswad,
Arthur Verocai,
Ultravox,
Lou Christie,
The Raincoats,
Quando Quango,
Marshall Jefferson,
The Velvet Underground,
Aaron Thompson,
X-101,
Von Mondo,
Gary Puckett & The Union Gap,
Ponytail,
Bobby Sherman,
Avey Tare & Kría Brekkan,
Joensuu 1685,
Orchestral Manoeuvres in the Dark,
Eve St. Jones,
Janne Schatter,
Deutsch Amerikanische Freundschaft,
Max Romeo,
Half Japanese,
Morten Harket,
Deepchord,
Pantytec,
Justin Hinds & The Dominoes,
Ituana,
Radiopuhelimet,
Minor Threat,
Tom Boy,
Depeche Mode,
Gil Scott Heron,
Sixth Finger,
Dark Day,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.