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 Spain and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 clarinet 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 The Electric Prunes to the electroclash kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
The Skatalites,
Liaisons Dangereuses,
Boredoms,
Jimmy McGriff,
Popol Vuh,
Monks,
Soft Machine,
Gang Starr,
the Sonics,
Dawn Penn,
Cal Tjader,
The Wake,
Banda Bassotti,
Alice Coltrane,
The Gories,
The Birthday Party,
Shuggie Otis,
Kauko Röyhkä ja Narttu,
The Evens,
Eric Copeland,
The United States of America,
Sandy B,
Duran Duran,
Avey Tare's Slasher Flicks,
Y Pants,
Jawbox,
Alphaville,
The Busters,
Lakeside,
F. McDonald,
Joyce Sims,
Minnie Riperton,
CMW,
The Angels of Light,
John Lydon,
8 Eyed Spy,
The Martian,
The Cowsills,
AZ,
The Count Five,
Zapp,
Oneida,
Hardrive,
The Tremeloes,
The Monks,
Hoover,
Bizarre Inc.,
Symarip,
Man Parrish,
Soul II Soul,
Bang on a Can All-Stars,
The Mighty Diamonds,
Lalann,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
Rufus Thomas,
Model 500,
The Smoke,
John Coltrane,
Second Layer,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.