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 South Sudan and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 The Birthday Party to the funk 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 The Blues Magoos. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Monks,
The Litter,
Traffic Nightmare,
DJ Sneak,
Tres Demented,
Sly & The Family Stone,
Lonnie Liston Smith,
Make Up,
OOIOO,
Liaisons Dangereuses,
Visage,
Qualms,
Bobby Womack,
The Men They Couldn't Hang,
Arthur Verocai,
Art Ensemble Of Chicago,
The Gap Band,
The Last Poets,
The Happenings,
David McCallum,
Von Mondo,
Jerry Gold Smith,
Interpol,
Erykah Badu,
The Victims,
The Music Machine,
Bush Tetras,
June of 44,
Flipper,
Suicide,
Gong,
Nation of Ulysses,
Kaleidoscope,
The New Christs,
The Black Dice,
This Heat,
Whodini,
Brick,
Orchestral Manoeuvres in the Dark,
Ponytail,
Bauhaus,
Henry Cow,
Eli Mardock,
Bobby Sherman,
JFA,
Richard Hell and the Voidoids,
Fluxion,
Deepchord,
Curtis Mayfield,
The Mummies,
Tubeway Army,
The Neon Judgement,
The Fuzztones,
Ronan,
Pere Ubu,
Mission of Burma,
Kool Moe Dee,
Oppenheimer Analysis,
L. Decosne,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.