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 China and from Glasgow.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Avey Tare to the jazz 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 Symarip. All the underground hits.
All Nico tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Ituana,
Lower 48,
Ash Ra Tempel,
Niagra,
Graham Central Station,
Gary Puckett & The Union Gap,
Thinking Fellers Union Local 282,
Kauko Röyhkä ja Narttu,
Public Enemy,
June of 44,
Barry Ungar,
Terry Callier,
Mark Hollis,
Ten City,
Jawbox,
Pulsallama,
Massinfluence,
Oblivians,
Section 25,
The Neon Judgement,
Lyres,
Dawn Penn,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Deadbeat,
Stereo Dub,
Organ,
DeepChord presents Echospace,
Soft Machine,
Gong,
The Cure,
Swell Maps,
Sexual Harrassment,
The Happenings,
Kurtis Blow,
R.M.O.,
Max Romeo,
Bang On A Can,
Grauzone,
James Chance & The Contortions,
Letta Mbulu,
Flamin' Groovies,
Oppenheimer Analysis,
Thompson Twins,
Funkadelic,
Red Lorry Yellow Lorry,
Yaz,
Peter Gordon & Love of Life Orchestra,
Khruangbin,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
It's A Beautiful Day,
Fifty Foot Hose,
Barclay James Harvest,
Marine Girls,
Idris Muhammad,
Dave Gahan,
The Fall,
Lizzy Mercier Descloux,
Harmonia,
Althea and Donna,
Fugazi,
Derrick May,
Make Up, Make Up, Make Up, Make Up.
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.