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 Seychelles and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 Holger Czukay 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 Robert Hood to the grime 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 Glenn Branca. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Bootsy Collins,
Colin Newman,
The Fuzztones,
Maleditus Sound,
The Cowsills,
Public Image Ltd.,
Sam Rivers,
Second Layer,
Brand Nubian,
Strawberry Alarm Clock,
Juan Atkins,
B.T. Express,
New Order,
James Chance & The Contortions,
The Monochrome Set,
Ronan,
Mary Jane Girls,
Eli Mardock,
The Monks,
Bobby Sherman,
Alison Limerick,
Moebius,
Electric Light Orchestra,
Robert Wyatt,
Echo & the Bunnymen,
Country Joe & The Fish,
Au Pairs,
Black Flag,
Joe Smooth,
Crooked Eye,
Marc Almond,
Max Romeo,
The West Coast Pop Art Experimental Band,
Mo-Dettes,
Royal Trux,
Robert Görl,
Godley & Creme,
Lebanon Hanover,
Reuben Wilson,
De La Soul & Jungle Brothers,
Suburban Knight,
Sun Ra Arkestra,
Spandau Ballet,
the Bar-Kays,
Yaz,
Deadbeat,
Lalann,
Barclay James Harvest,
Marmalade,
Glenn Branca,
Smog,
Lalo Schifrin,
Crime,
Panda Bear,
Donald Byrd,
The Count Five,
Das Ding,
Roger Hodgson,
Lou Reed,
kango's stein massive,
Shuggie Otis,
Jeru the Damaja,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.