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 Trinidad & Tobago and from Tehran.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Heaven 17 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 Pussy Galore. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
New Age Steppers,
Urselle,
Rosa Yemen,
Buzzcocks,
Dorothy Ashby,
Jawbox,
Crispy Ambulance,
Kool Moe Dee,
The Stooges,
T.S.O.L.,
Gerry Rafferty,
Unrelated Segments,
The Gap Band,
Bobby Byrd,
Wally Richardson,
Darondo,
The Fuzztones,
Peter & Gordon,
Khruangbin,
Motorama,
Bobby Sherman,
Jandek,
The Slits,
48th St. Collective,
Fear,
Johnny Clarke,
Index,
Roxette,
Agent Orange,
A Flock of Seagulls,
Peter Gordon & Love of Life Orchestra,
The Doors,
Flash Fearless,
DJ Sneak,
The Seeds,
Dual Sessions,
Duran Duran,
Chris & Cosey,
Rapeman,
Quando Quango,
Lyres,
Ultimate Spinach,
Roger Hodgson,
Essential Logic,
Altered Images,
Fifty Foot Hose,
Radiohead,
The Cramps,
Suburban Knight,
Von Mondo,
Metal Thangz,
Man Eating Sloth,
Bang on a Can All-Stars,
Althea and Donna,
Skarface,
Tubeway Army,
Cecil Taylor,
Kayak,
The Durutti Column,
Dennis Brown,
Kurtis Blow,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.