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 Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 The Chocolate Watch Band to the dance kids.
I played it at the Astoria.
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 Marc Almond. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro 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 synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Echo & the Bunnymen,
Deadbeat,
The Jesus and Mary Chain,
Scrapy,
The Doors,
The Alarm Clocks,
Andrew Ashong & Theo Parrish,
MDC,
Terry Callier,
Grandmaster Flash,
Radiopuhelimet,
the Soft Cell,
Pagans,
R.M.O.,
Icehouse,
Rowland S Howard / Lydia Lunch,
Bill Wells,
Funky Four + One,
the Fania All-Stars,
The Gories,
The Tremeloes,
Bad Manners,
Marmalade,
Yaz,
Fear,
Von Mondo,
Young Marble Giants,
Angry Samoans,
Kas Product,
MC5,
H. Thieme,
Sunsets and Hearts,
Sixth Finger,
Strawberry Alarm Clock,
Rites of Spring,
Minnie Riperton,
Robert Wyatt,
The Residents,
John Lydon,
Bobbi Humphrey,
Gil Scott Heron,
The Music Machine,
Babytalk,
June Days,
Boogie Down Productions,
Jandek,
Dawn Penn,
A Certain Ratio,
Slick Rick,
Camouflage,
John Cale,
London Community Gospel Choir,
the Normal,
E-Dancer,
Hot Snakes,
Oppenheimer Analysis,
Max Romeo,
Matthew Bourne,
Mission of Burma,
Sonny Sharrock,
Thinking Fellers Union Local 282,
Popol Vuh,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.