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 Liberia and from Bremen.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
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 spring reverb 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 Cluster to the grunge kids.
I played it at the Troubador.
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 Art Ensemble Of Chicago. All the underground hits.
All the Association tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Parry Music,
Judy Mowatt,
Michelle Simonal,
The Wake,
The Barracudas,
Circle Jerks,
Ash Ra Tempel,
Joe Finger,
Steve Hackett,
Gang Starr,
Liaisons Dangereuses,
The Martian,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cybotron,
Donny Hathaway,
Trumans Water,
Nik Kershaw,
Ultra Naté,
The Gories,
Television,
Zero Boys,
Porter Ricks,
Cluster,
Sam Rivers,
Agent Orange,
Minor Threat,
Magma,
The Invisible,
Eve St. Jones,
Negative Approach,
Pulsallama,
Gang of Four,
Suburban Knight,
Black Flag,
Avey Tare & Kría Brekkan,
Lakeside,
Basic Channel,
The Smiths,
Pagans,
Deadbeat,
Lizzy Mercier Descloux,
Godley & Creme,
Fatback Band,
The Moleskins,
Chris & Cosey,
Erasure,
Inner City,
OOIOO,
Quadrant,
Supertramp,
Rowland S Howard / Lydia Lunch,
Q65,
Grandmaster Flash,
Alton Ellis,
Thee Headcoats,
Marine Girls,
Andrew Ashong & Theo Parrish,
Beasts of Bourbon,
Black Pus,
The Divine Comedy,
Make Up,
Matthew Halsall,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.