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 New Zealand and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Taipei 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 Tom Verlaine 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 Sonny Sharrock to the electroclash kids.
I played it at the Crocodile.
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 Vogues. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Alison Limerick 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 '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Jawbox,
Sight & Sound,
Alton Ellis,
Panda Bear,
David Bowie,
Derrick Morgan,
Leonard Cohen,
Rhythim Is Rhythim,
Lower 48,
The Misunderstood,
Mr. Review,
Louis and Bebe Barron,
Eden Ahbez,
Y Pants,
Kango’s Stein Massive,
Sugar Minott,
The Buckinghams,
Gichy Dan,
Joyce Sims,
Jerry Gold Smith,
Rakim,
Curtis Mayfield,
La Düsseldorf,
Kas Product,
Drexciya,
The Red Krayola,
Rotary Connection,
PIL,
U.S. Maple,
Scratch Acid,
Johnny Clarke,
Gerry Rafferty,
Eddi Front,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gong,
Deutsch Amerikanische Freundschaft,
Bootsy Collins,
Amon Düül II,
Susan Cadogan,
Franke,
Flamin' Groovies,
Albert Ayler,
Dead Boys,
Andrew Ashong & Theo Parrish,
Bizarre Inc.,
Skriet,
Lalann,
Delon & Dalcan,
Morten Harket,
Bill Near,
Eli Mardock,
DNA,
Ultra Naté,
L. Decosne,
Ralphi Rosario,
Sun City Girls,
Inner City,
Depeche Mode,
E-Dancer,
James White and The Blacks,
The Electric Prunes,
John Lydon,
the Swans, the Swans, the Swans, the Swans.
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.