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 Finland and from Portland.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Eve St. Jones to the dance kids.
I played it at Trash.
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 Chris & Cosey. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal funk 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Basic Channel,
Audionom,
Terrestrial Tones,
The United States of America,
Gang Green,
Strawberry Alarm Clock,
Model 500,
Ken Boothe,
Bill Wells,
Amon Düül,
Avey Tare,
Hardrive,
Davy DMX,
Oneida,
UT,
One Last Wish,
Visionaries,LMNO, T- Love & Iriscience,
Bang On A Can,
Vladislav Delay,
The Beau Brummels,
FM Einheit,
Robert Görl,
Public Enemy,
B.T. Express,
Masters at Work,
Crime,
Public Image Ltd.,
Janne Schatter,
Faust,
Supertramp,
Yazoo,
Magazine,
Bang on a Can All-Stars,
The Black Dice,
Clear Light,
Fugazi,
Agent Orange,
Lyres,
Accadde A,
Faraquet,
Joy Division,
Goldenarms,
The Velvet Underground,
Shoche,
Stiv Bators,
Das Ding,
Graham Central Station,
Motorama,
Avey Tare's Slasher Flicks,
Mantronix,
Lungfish,
the Association,
Boz Scaggs,
Scan 7,
Sparks,
Kaleidoscope,
Eden Ahbez,
OOIOO,
cv313,
D'Angelo,
Outsiders,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.