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 Vanuatu and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Halifax 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Little Man to the jazz kids.
I played it at the Spitz.
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 The Saints. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
James White and The Blacks,
Supertramp,
Bauhaus,
Black Moon,
In Retrospect,
The Birthday Party,
kango's stein massive,
Robert Hood,
Marshall Jefferson,
Lafayette Afro Rock Band,
The Chocolate Watch Band,
Banda Bassotti,
Suburban Knight,
Liaisons Dangereuses,
The Busters,
Simply Red,
Camberwell Now,
Franke,
The Gun Club,
The Toasters,
Orchestral Manoeuvres in the Dark,
the Germs,
Strawberry Alarm Clock,
Neu!,
The Wake,
The Angels of Light,
Thee Headcoats,
Howard Jones,
Jerry's Kids,
Hasil Adkins,
The Music Machine,
ABC,
Los Fastidios,
The Neon Judgement,
Neil Young & Crazy Horse,
Magma,
Jesper Dahlback,
Stockholm Monsters,
Gastr Del Sol,
The Selecter,
Deepchord,
Underground Resistance,
Lungfish,
Crime,
Lucky Dragons,
Blake Baxter,
The Martian,
DNA,
The Move,
Avey Tare,
Popol Vuh,
Echo & the Bunnymen,
Siglo XX,
Tomorrow,
Television Personalities,
Magazine,
Mission of Burma,
Con Funk Shun,
Traffic Nightmare,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.