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 Belize and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Copenhagen 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Bush Tetras to the crunk kids.
I played it at the Astoria.
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 Livin' Joy. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Quantec record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Oblivians,
Traffic Nightmare,
Ornette Coleman,
Sister Nancy,
Lyres,
The Detroit Cobras,
Rod Modell,
Theoretical Girls,
Beasts of Bourbon,
Pharaoh Sanders and the Fire Engines,
The Pop Group,
8 Eyed Spy,
Kango’s Stein Massive,
The Cowsills,
Youth Brigade,
Peter & Gordon,
The Grass Roots,
Ralphi Rosario,
Niagra,
Donny Hathaway,
Tommy Roe,
The Tremeloes,
Infiniti,
Janne Schatter,
The Sound,
Minutemen,
Andrew Ashong & Theo Parrish,
Cabaret Voltaire,
Circle Jerks,
Rhythm & Sound,
Blancmange,
Unwound,
Peter and Kerry,
Scott Walker,
DNA,
Zero Boys,
FM Einheit,
Matthew Halsall,
Alphaville,
The Real Kids,
Yusef Lateef,
Moebius,
Eddi Front,
Barclay James Harvest,
Rufus Thomas,
Morten Harket,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
Gastr Del Sol,
Crash Course in Science,
Qualms,
Arcadia,
Alton Ellis,
Manfred Mann's Earth Band,
June of 44,
Eden Ahbez,
Angels of Light & Akron/Family,
Gil Scott-Heron & Brian Jackson,
Pulsallama,
Second Layer,
Kayak, Kayak, Kayak, Kayak.
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.