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 Kuwait and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1974.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Spokane 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Thompson Twins to the electroclash kids.
I played it at the 40 Watt.
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 Bush Tetras. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Suicide 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Orchestral Manoeuvres in the Dark,
Ten City,
Blossom Toes,
a-ha,
Sam Rivers,
Ice-T,
Make Up,
Joensuu 1685,
Suicide,
Gary Puckett & The Union Gap,
Lower 48,
Stiv Bators,
Sarah Menescal,
Pylon,
The Mojo Men,
Matthew Halsall,
Thee Headcoats,
Roy Ayers,
The Men They Couldn't Hang,
Yellowson,
Livin' Joy,
Organ,
Sonny Sharrock,
Deadbeat,
MDC,
The Victims,
Pole,
Talk Talk,
Vaughan Mason & Crew,
Scientists,
Groovy Waters,
Jesper Dahlbäck,
Nils Olav,
Main Source,
Kings Of Tomorrow,
James Chance & The Contortions,
Jacques Brel,
Joe Smooth,
Glambeats Corp.,
Lou Christie,
The Stooges,
the Slits,
CMW,
Dennis Brown,
Porter Ricks,
Smog,
The New Christs,
Tomorrow,
Boz Scaggs,
The Real Kids,
Kenny Larkin,
Joey Negro,
Avey Tare,
Eli Mardock,
Tim Buckley,
Darondo,
Lightning Bolt,
Cabaret Voltaire,
Henry Cow,
New York Dolls,
ABBA,
Rhythm & Sound,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.