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 Benin and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Halifax and Manila.
I'm losing my edge to the art-school Tehran 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 clarinet 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 Lizzy Mercier Descloux 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 Minnie Riperton. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Don Cherry,
Hot Snakes,
Gary Puckett & The Union Gap,
Robert Görl,
the Slits,
Gang Gang Dance,
Eyeless In Gaza,
Kauko Röyhkä ja Narttu,
Brothers Johnson,
Thee Headcoats,
The Electric Prunes,
Liaisons Dangereuses,
Interpol,
Outsiders,
Arab on Radar,
Derrick May,
Jerry's Kids,
Shoche,
Warsaw,
Kevin Saunderson,
Morten Harket,
Talk Talk,
Fat Boys,
Minutemen,
Quantec,
CMW,
Gian Franco Pienzio,
ABC,
Connie Case,
Khruangbin,
Rufus Thomas,
Cal Tjader,
The Black Dice,
Bang on a Can All-Stars,
Tomorrow,
John Lydon,
Country Joe & The Fish,
Radiohead,
Depeche Mode,
Unwound,
Sun City Girls,
Qualms,
New Age Steppers,
The American Breed,
DeepChord presents Echospace,
Nas,
Scott Walker,
Pere Ubu,
The Remains,
The Last Poets,
Public Image Ltd.,
Aloha Tigers,
Monolake,
The Names,
Black Flag,
Grandmaster Flash and the Furious Five,
Laurel Aitken,
Art Ensemble Of Chicago,
Underground Resistance,
Brass Construction,
The Peanut Butter Conspiracy,
Television, Television, Television, Television.
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.