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 Slovakia and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Patti Smith to the punk kids.
I played it at Trash.
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 Selecter. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Malaria! 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Aural Exciters,
The Zeros,
Derrick Morgan,
The Black Dice,
Lou Reed & Metallica,
Porter Ricks,
Strawberry Alarm Clock,
Lizzy Mercier Descloux,
The Shadows of Knight,
Eric Copeland,
Country Joe & The Fish,
Stetsasonic,
The Trojans,
R.M.O.,
The Monochrome Set,
Qualms,
Hoover,
Sun Ra Arkestra,
The West Coast Pop Art Experimental Band,
Flash Fearless,
Todd Rundgren,
Vladislav Delay,
Guru Guru,
Bootsy Collins,
Matthew Halsall,
Harry Pussy,
Terry Callier,
Arab on Radar,
The Leaves,
Hardrive,
Grey Daturas,
Faraquet,
Ken Boothe,
Beasts of Bourbon,
Maurizio,
Deutsch Amerikanische Freundschaft,
The Star Department,
Sex Pistols,
Kevin Saunderson,
the Swans,
Sällskapet,
The Slits,
Ornette Coleman,
Kerrie Biddell,
Dennis Brown,
The Music Machine,
Glambeats Corp.,
Sandy B,
Jesper Dahlback,
Stockholm Monsters,
Cabaret Voltaire,
Cluster,
T. Rex,
Bobby Hutcherson,
the Fania All-Stars,
James White and The Blacks,
Gian Franco Pienzio,
The Pop Group,
Roger Hodgson,
Franke,
Second Layer,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.