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 Samoa and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Manila 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Don Cherry to the grime kids.
I played it at the Crocodile.
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 The Monks. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Peter and Kerry,
Avey Tare & Kría Brekkan,
Easy Going,
Hot Snakes,
Ultra Naté,
The Selecter,
Bobby Byrd,
Henry Cow,
Dual Sessions,
Mary Jane Girls,
Yazoo,
Fad Gadget,
Chrome,
Rowland S Howard / Lydia Lunch,
Delon & Dalcan,
Mandrill,
Saccharine Trust,
Pere Ubu,
DNA,
Letta Mbulu,
Black Bananas,
The Seeds,
Ornette Coleman,
The Velvet Underground,
X-101,
Gerry Rafferty,
Black Sheep,
Fat Boys,
ABBA,
Don Cherry,
Agent Orange,
Mad Mike,
Aswad,
Nico,
Alice Coltrane,
Pulsallama,
Michelle Simonal,
Alphaville,
The Modern Lovers,
D'Angelo,
The Peanut Butter Conspiracy,
Con Funk Shun,
Visage,
Ultimate Spinach,
Stiv Bators,
Arthur Verocai,
The Raincoats,
Joe Finger,
Niagra,
The Music Machine,
Accadde A,
Kool G Rap & DJ Polo,
The Motions,
Radio Birdman,
X-Ray Spex,
Negative Approach,
Maurizio,
The Sisters of Mercy,
OOIOO,
Youth Brigade,
Selector Dub Narcotic,
The Monks, The Monks, The Monks, The Monks.
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.