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 Suriname and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 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 Aaron Thompson to the electroclash kids.
I played it at Cafe Wha.
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 Slick Rick. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Banda Bassotti,
It's A Beautiful Day,
Swell Maps,
The Cosmic Jokers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Moon,
Bad Manners,
Half Japanese,
Tears for Fears,
Albert Ayler,
Man Parrish,
The Music Machine,
Boogie Down Productions,
Johnny Osbourne,
Alton Ellis,
John Cale,
Maurizio,
Cameo,
Kenny Larkin,
Harry Pussy,
Icehouse,
Gabor Szabo,
London Community Gospel Choir,
Gang Green,
OOIOO,
Stiv Bators,
Jesper Dahlback,
Tom Boy,
John Lydon,
The Stooges,
The Durutti Column,
Neil Young & Crazy Horse,
The Golliwogs,
Fear,
The Neon Judgement,
Das Ding,
Darondo,
The American Breed,
Sällskapet,
Peter Gordon & Love of Life Orchestra,
Hot Snakes,
Lucky Dragons,
The Moody Blues,
Warren Ellis,
DeepChord presents Echospace,
Joensuu 1685,
Strawberry Alarm Clock,
The Red Krayola,
Brothers Johnson,
Erasure,
Q and Not U,
June of 44,
Matthew Halsall,
Aural Exciters,
Excepter,
Sexual Harrassment,
Duran Duran,
Jandek,
Marshall Jefferson,
Joyce Sims,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.