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 Qatar and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Tehran 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 Crooked Eye to the grunge kids.
I played it at the Roxy.
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 H. Thieme. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Ultimate Spinach,
Arab on Radar,
Negative Approach,
Connie Case,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott Heron,
The Detroit Cobras,
Zero Boys,
The Five Americans,
Ludus,
Notorious BIG live in Amsterdam,
Bobby Womack,
H. Thieme,
Echo & the Bunnymen,
Be Bop Deluxe,
Rosa Yemen,
The Blues Magoos,
Khruangbin,
Lou Reed,
Jerry's Kids,
The Zeros,
Spandau Ballet,
Rakim,
Albert Ayler,
Deutsch Amerikanische Freundschaft,
Mission of Burma,
The Smoke,
Johnny Osbourne,
Joe Finger,
OOIOO,
The Dirtbombs,
The Toasters,
Siouxsie and the Banshees,
Interpol,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare,
Fluxion,
Roger Hodgson,
Cluster,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Soul II Soul,
L. Decosne,
Icehouse,
Unwound,
Sällskapet,
Big Daddy Kane,
Sparks,
Cybotron,
Camouflage,
The Fire Engines,
The Cure,
D'Angelo,
Marine Girls,
The United States of America,
Lizzy Mercier Descloux,
Ten City,
Electric Light Orchestra,
Jesper Dahlbäck,
Matthew Halsall,
the Sonics,
Main Source,
Faust,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.