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 Dominica and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Pierre Henry to the rock kids.
I played it at the Troubador.
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 John Foxx. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Quando Quango,
Jeff Mills,
Wolf Eyes,
The Five Americans,
Masters at Work,
Parry Music,
Rhythm & Sound,
Theoretical Girls,
Steve Hackett,
Crispian St. Peters,
Bizarre Inc.,
The Real Kids,
ABC,
The Selecter,
John Holt,
Dual Sessions,
Anthony Braxton,
Leonard Cohen,
Panda Bear,
Cecil Taylor,
Neu!,
UT,
Avey Tare,
Ohio Players,
Glambeats Corp.,
The Angels of Light,
Eric Copeland,
Soul Sonic Force,
The Index,
Talk Talk,
Minutemen,
Lonnie Liston Smith,
Pulsallama,
Rosa Yemen,
Brand Nubian,
Skaos,
Captain Beefheart & His Magic Band,
the Bar-Kays,
The Fortunes,
Man Eating Sloth,
Bang on a Can All-Stars,
The Black Dice,
Little Man,
Yellowson,
Urselle,
Alison Limerick,
The New Christs,
Kerri Chandler,
Kool Moe Dee,
Depeche Mode,
48th St. Collective,
Symarip,
Sarah Menescal,
Marc Almond,
Mad Mike,
Louis and Bebe Barron,
Infiniti,
Slave,
Kings Of Tomorrow,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.