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 Bhutan and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Lille 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Fort Wilson Riot to the crunk kids.
I played it at the Hacienda.
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 Alison Limerick. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Minny Pops 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Lou Reed,
Crash Course in Science,
Graham Central Station,
Silicon Teens,
Amazonics,
Wolf Eyes,
PIL,
Lonnie Liston Smith,
Hardrive,
UT,
Susan Cadogan,
Flash Fearless,
Rhythm & Sound,
Amon Düül II,
Barbara Tucker,
The Names,
Gary Puckett & The Union Gap,
The Beau Brummels,
The Kinks,
The Mojo Men,
Rod Modell,
Ornette Coleman,
Harry Pussy,
Crime,
Jesper Dahlbäck,
DJ Style,
Audionom,
Yazoo,
the Soft Cell,
The Men They Couldn't Hang,
Simply Red,
Maurizio,
Kings Of Tomorrow,
Delon & Dalcan,
The Index,
Ronnie Foster,
Matthew Halsall,
David McCallum,
Roy Ayers,
Tres Demented,
Dark Day,
Eyeless In Gaza,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sugar Minott,
Ossler,
Grauzone,
Gong,
Fad Gadget,
Trumans Water,
CMW,
Brass Construction,
Marvin Gaye,
cv313,
Accadde A,
L. Decosne,
Gichy Dan,
Sight & Sound,
Oblivians,
Gang Green,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.