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 Israel and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 spring reverb 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 Strawberry Alarm Clock to the jazz 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 Lindisfarne. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Andrew Hill,
Harmonia,
L. Decosne,
Loose Ends,
Marc Almond,
Stiv Bators,
Q65,
Icehouse,
Sly & The Family Stone,
John Holt,
DNA,
David Bowie,
Gang of Four,
Monolake,
The Five Americans,
Hot Snakes,
Wally Richardson,
Grandmaster Flash,
Ken Boothe,
UT,
Sexual Harrassment,
Brass Construction,
Bad Manners,
Yusef Lateef,
John Coltrane,
Bauhaus,
Darondo,
Lungfish,
Pierre Henry,
Barry Ungar,
The Fall,
Agitation Free,
Radio Birdman,
Avey Tare's Slasher Flicks,
Roger Hodgson,
Gastr Del Sol,
Kerri Chandler,
Thee Headcoats,
The Neon Judgement,
Godley & Creme,
Gil Scott-Heron and Jamie xx,
H. Thieme,
Surgeon,
Lindisfarne,
Joe Finger,
Eve St. Jones,
Harry Pussy,
Sun City Girls,
Nas,
Animal Collective,
The Gun Club,
Scion,
Todd Rundgren,
Jeff Lynne,
Ossler,
Jandek,
a-ha,
Cabaret Voltaire,
Electric Light Orchestra,
Maleditus Sound,
Rekid,
Siglo XX,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.