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 Madagascar and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Avey Tare to the disco kids.
I played it at the Troubador.
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 Bush Tetras. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Rosa Yemen 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Mojo Men,
World's Most,
Eyeless In Gaza,
Ronnie Foster,
Albert Ayler,
Gil Scott Heron,
The Buckinghams,
Avey Tare,
Thompson Twins,
Sällskapet,
Tom Boy,
Faraquet,
The New Christs,
Black Flag,
Scientists,
John Cale,
L. Decosne,
Ajijia Myrayebe,
The Move,
Eve St. Jones,
Sexual Harrassment,
Letta Mbulu,
Pet Shop Boys,
Wally Richardson,
Echospace,
Bronski Beat,
Amon Düül II,
Ludus,
Siglo XX,
Thinking Fellers Union Local 282,
A Flock of Seagulls,
Derrick Morgan,
Agent Orange,
Ralphi Rosario,
The Blues Magoos,
Al Stewart,
Hardrive,
The Durutti Column,
Intrusion,
Brothers Johnson,
Blancmange,
E-Dancer,
Lyres,
Rod Modell,
Isaac Hayes,
Red Lorry Yellow Lorry,
Mad Mike,
Gian Franco Pienzio,
Section 25,
Orchestral Manoeuvres in the Dark,
CMW,
UT,
Neu!,
Donny Hathaway,
Ituana,
Heaven 17,
Jacques Brel,
Harry Pussy,
Peter and Kerry,
Deadbeat,
Brick,
Icehouse, Icehouse, Icehouse, Icehouse.
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.