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 Zambia and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 synthesizer 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 Electric Light Orchestra to the grunge 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 FM Einheit. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal jazz 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 a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Symarip,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eli Mardock,
Con Funk Shun,
the Human League,
Barclay James Harvest,
Young Marble Giants,
Bluetip,
Kango’s Stein Massive,
T.S.O.L.,
MC5,
Red Lorry Yellow Lorry,
Dead Boys,
Electric Prunes,
F. McDonald,
Jesper Dahlbäck,
Black Sheep,
The Mojo Men,
Soul Sonic Force,
Andrew Hill,
Wings,
cv313,
Lonnie Liston Smith,
Grandmaster Flash,
Wasted Youth,
Blossom Toes,
Brick,
Niagra,
Nick Cave & The Bad Seeds,
Pere Ubu,
The Moleskins,
The Gap Band,
Swans,
The Buckinghams,
Cecil Taylor,
Deadbeat,
Cheater Slicks,
The Jesus and Mary Chain,
Half Japanese,
Fear,
Siouxsie and the Banshees,
Aloha Tigers,
Country Teasers,
Sunsets and Hearts,
Infiniti,
Orchestral Manoeuvres in the Dark,
Cluster,
Little Man,
Jacob Miller,
Siglo XX,
kango's stein massive,
Pet Shop Boys,
Audionom,
Ralphi Rosario,
Fugazi,
Magma,
Rites of Spring,
Bizarre Inc.,
Marcia Griffiths,
The J.B.'s,
Shuggie Otis,
The Cure,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.