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 Belgium and from Milan.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Brick to the rock 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 Kango’s Stein Massive. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Piero Umiliani,
Shoche,
The J.B.'s,
Marmalade,
The Martian,
Manfred Mann's Earth Band,
Sam Rivers,
Circle Jerks,
Supertramp,
Matthew Bourne,
Stereo Dub,
Soul II Soul,
Lee Hazlewood,
Henry Cow,
Icehouse,
The Music Machine,
A Flock of Seagulls,
Judy Mowatt,
Avey Tare,
Notorious Big And Bone Thugs,
Danielle Patucci,
The Sound,
Skaos,
Sonic Youth,
Sun City Girls,
Minny Pops,
Gil Scott-Heron & Brian Jackson,
The Mummies,
Sun Ra,
Radiohead,
L. Decosne,
Organ,
Matthew Halsall,
The Seeds,
Bluetip,
The Dave Clark Five,
The Gories,
Pierre Henry,
Jandek,
H. Thieme,
Deadbeat,
Orchestral Manoeuvres in the Dark,
Gong,
Tim Buckley,
Lalann,
Vainqueur,
Rahsaan Roland Kirk,
Nils Olav,
The Happenings,
Kango’s Stein Massive,
Ultimate Spinach,
Sound Behaviour,
Jerry's Kids,
X-102,
Quadrant,
Crispian St. Peters,
Neil Young,
Masters at Work,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.