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 Syria and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1970.
I'm losing my edge.
To all the kids in Bologna and Columbus.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 T.S.O.L. to the grunge kids.
I played it at the Roxy.
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 Delon & Dalcan. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Second Layer,
The Cowsills,
Ossler,
The Fire Engines,
The Durutti Column,
James Chance & The Contortions,
Boogie Down Productions,
The New Christs,
Barclay James Harvest,
Louis and Bebe Barron,
Depeche Mode,
Patti Smith,
Notorious BIG live in Amsterdam,
Lebanon Hanover,
Darondo,
Harpers Bizarre,
Glambeats Corp.,
Lizzy Mercier Descloux,
The Buckinghams,
Heavy D & The Boyz,
Oppenheimer Analysis,
Eurythmics,
Funkadelic,
Theoretical Girls,
Alton Ellis,
Monolake,
Groovy Waters,
Barry Ungar,
Bang on a Can All-Stars,
Ponytail,
the Normal,
Rotary Connection,
New Order,
Khruangbin,
Aswad,
The Walker Brothers,
Joensuu 1685,
Bobby Sherman,
The Smiths,
kango's stein massive,
Kings Of Tomorrow,
Bobby Womack,
The Last Poets,
Dr. Dre and Snoop Doggy Dog,
DNA,
Whodini,
The Offenders,
Crooked Eye,
Dead Boys,
Mad Mike,
Sam Rivers,
The Jesus and Mary Chain,
The Doors,
Dark Day,
Unwound,
Deepchord,
Al Stewart,
Sparks,
Notorious Big And Bone Thugs,
The Royal Family And The Poor,
Pierre Henry,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.