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 Czech Republic and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Lagos and Mumbai.
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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Howard Jones to the funk 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 Drexciya. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every the Slits 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Sight & Sound,
Jacob Miller,
The Grass Roots,
Neil Young,
Cecil Taylor,
Black Bananas,
Ken Boothe,
Flipper,
Maleditus Sound,
Royal Trux,
Morten Harket,
U.S. Maple,
Todd Rundgren,
Avey Tare's Slasher Flicks,
Second Layer,
Bauhaus,
Pierre Henry,
Neil Young & Crazy Horse,
Robert Hood,
Dual Sessions,
Throbbing Gristle,
the Human League,
Electric Prunes,
Lonnie Liston Smith,
Fear,
Joyce Sims,
Captain Beefheart & His Magic Band,
Organ,
Infiniti,
Rekid,
Rhythim Is Rhythim,
The Velvet Underground,
Ultramagnetic MC's,
Yellowson,
Gil Scott Heron,
Marmalade,
Electric Light Orchestra,
Albert Ayler,
Fela Kuti,
Matthew Halsall,
Bobby Hutcherson,
Slick Rick,
John Lydon,
Marine Girls,
Donald Byrd,
The Dirtbombs,
Scott Walker + Sunn O))),
Ohio Players,
the Soft Cell,
Jerry's Kids,
Ultimate Spinach,
Eddi Front,
Louis and Bebe Barron,
Davy DMX,
Curtis Mayfield,
Vladislav Delay,
Masters at Work,
Amon Düül II,
Black Moon,
Blake Baxter,
Sly & The Family Stone,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.