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 Taiwan and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Houston and Paris.
I'm losing my edge to the art-school Portland 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar 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 Faust to the electroclash kids.
I played it at the Spitz.
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 Television Personalities. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sticky Fingaz feat. Raekwon record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Deakin,
Cluster,
Pulsallama,
Ten City,
The Fuzztones,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
Nas,
Eric Copeland,
Suburban Knight,
Soft Machine,
the Swans,
Eurythmics,
Gerry Rafferty,
Schoolly D,
Rites of Spring,
Bizarre Inc.,
Ultra Naté,
Simply Red,
Sound Behaviour,
Supertramp,
Black Bananas,
Kool Moe Dee,
Connie Case,
Selector Dub Narcotic,
Lindisfarne,
Amon Düül II,
Avey Tare & Kría Brekkan,
Kango’s Stein Massive,
China Crisis,
Rakim,
Fort Wilson Riot,
Prince Buster,
Wire,
Siglo XX,
Justin Hinds & The Dominoes,
The Durutti Column,
The Index,
Jeff Lynne,
The Peanut Butter Conspiracy,
Anthony Braxton,
Saccharine Trust,
Oneida,
Erykah Badu,
Electric Prunes,
Faraquet,
Mary Jane Girls,
Roxy Music,
the Soft Cell,
La Düsseldorf,
Sonic Youth,
R.M.O.,
a-ha,
Minnie Riperton,
Man Eating Sloth,
Gian Franco Pienzio,
Jacob Miller,
Hardrive,
Agent Orange,
The Vogues, The Vogues, The Vogues, The Vogues.
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.