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 Dominican Republic and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Halifax and Manila.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Janne Schatter to the funk 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 Warsaw. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The Angels of Light 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 '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Hasil Adkins,
Notorious BIG live in Amsterdam,
It's A Beautiful Day,
Yazoo,
Morten Harket,
Cabaret Voltaire,
Dual Sessions,
Heaven 17,
Ituana,
H. Thieme,
Gerry Rafferty,
The Fugs,
Fat Boys,
Blancmange,
EPMD,
Throbbing Gristle,
Sad Lovers and Giants,
Television,
Prince Buster,
Bootsy's Rubber Band,
Max Romeo,
Laurel Aitken,
Iggy Pop,
David Bowie,
Amazonics,
The Stooges,
Negative Approach,
Peter & Gordon,
DeepChord presents Echospace,
Magazine,
Jesper Dahlback,
Aaron Thompson,
Interpol,
Eyeless In Gaza,
Cecil Taylor,
Pantytec,
Skarface,
Scratch Acid,
Bobby Womack,
Marshall Jefferson,
Yusef Lateef,
Tim Buckley,
The Happenings,
Eden Ahbez,
Khruangbin,
Brass Construction,
Young Marble Giants,
The Peanut Butter Conspiracy,
Oneida,
Minny Pops,
The Grass Roots,
MC5,
Parry Music,
In Retrospect,
Buzzcocks,
The Evens,
Flipper,
Jesper Dahlbäck,
Anakelly,
Visionaries,LMNO, T- Love & Iriscience,
Bobby Hutcherson,
Rapeman,
Pole, Pole, Pole, Pole.
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.