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 Honduras and from Manila.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Halifax and Toronto.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the jazz 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 Motorama. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Rotary Connection,
Wighnomy Brothers & Robag Wruhme,
Depeche Mode,
Siouxsie and the Banshees,
Chrome,
Second Layer,
Swans,
Unrelated Segments,
The Pretty Things,
Major Organ And The Adding Machine,
The Leaves,
Bush Tetras,
Lalo Schifrin,
Joyce Sims,
The Misunderstood,
Minutemen,
Althea and Donna,
Lizzy Mercier Descloux,
Kayak,
The Sonics,
Harry Pussy,
Fad Gadget,
Blancmange,
the Bar-Kays,
Marcia Griffiths,
Warren Ellis,
Thompson Twins,
Avey Tare's Slasher Flicks,
Amon Düül II,
Sarah Menescal,
Ronnie Foster,
The Angels of Light,
The Black Dice,
Flamin' Groovies,
Roxy Music,
Derrick May,
The Barracudas,
Circle Jerks,
Lebanon Hanover,
Lyres,
Tommy Roe,
Faraquet,
Tim Buckley,
Smog,
Babytalk,
Nik Kershaw,
Fluxion,
the Swans,
Eurythmics,
Arcadia,
Moss Icon,
Aural Exciters,
Teenage Jesus and the Jerks,
Animal Collective,
Organ,
Barrington Levy,
Jerry's Kids,
Graham Central Station,
Boz Scaggs,
Khruangbin,
Sam Rivers,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.