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 Switzerland and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 clarinet 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 Rites of Spring to the jazz kids.
I played it at the 40 Watt.
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 Connie Case. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Cameo,
The West Coast Pop Art Experimental Band,
Laurel Aitken,
Gang Gang Dance,
Sad Lovers and Giants,
The Music Machine,
Radiopuhelimet,
Ajijia Myrayebe,
ABBA,
FM Einheit,
Jacques Brel,
Can,
Nick Cave & The Bad Seeds,
Donald Byrd,
Alison Limerick,
A Flock of Seagulls,
AZ,
Janne Schatter,
the Human League,
Arthur Verocai,
Scion,
Don Cherry,
Black Pus,
Andrew Hill,
Yazoo,
the Bar-Kays,
Rapeman,
Gregory Isaacs,
Rotary Connection,
Soft Machine,
Terrestrial Tones,
Aswad,
K-Klass,
Pulsallama,
Dead Boys,
The Monochrome Set,
KRS-One,
X-101,
Cabaret Voltaire,
Henry Cow,
Eric B and Rakim,
Popol Vuh,
The Gap Band,
Lalo Schifrin,
The Evens,
Khruangbin,
Minor Threat,
Rahsaan Roland Kirk,
Subhumans,
Quadrant,
Theoretical Girls,
Magazine,
The Pop Group,
Fat Boys,
Andrew Ashong & Theo Parrish,
Visage,
James Chance & The Contortions,
Fear,
LL Cool J,
Byron Stingily,
Thinking Fellers Union Local 282,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.