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 Spain and from Hong Kong.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 The Martian to the techno 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 Sly & The Family Stone. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Matthew Bourne 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 '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Glenn Branca,
Roxette,
Delon & Dalcan,
Excepter,
Warren Ellis,
DJ Style,
Negative Approach,
Dawn Penn,
The Toasters,
Kenny Larkin,
Dorothy Ashby,
Can,
Big Daddy Kane,
Bronski Beat,
Lee Hazlewood,
Avey Tare & Kría Brekkan,
Traffic Nightmare,
Throbbing Gristle,
Country Teasers,
Anthony Braxton,
The Pop Group,
Tropical Tobacco,
Marine Girls,
Slick Rick,
The Cowsills,
The Litter,
Pete Rock & C.L. Smooth,
Black Moon,
The Real Kids,
Kaleidoscope,
Selector Dub Narcotic,
Pussy Galore,
Aloha Tigers,
The Monks,
Eli Mardock,
Be Bop Deluxe,
Sound Behaviour,
T. Rex,
Brass Construction,
A Certain Ratio,
Electric Prunes,
Peter Gordon & Love of Life Orchestra,
Pet Shop Boys,
Make Up,
Sex Pistols,
the Human League,
The Gories,
Crispy Ambulance,
Supertramp,
Whodini,
Easy Going,
Fifty Foot Hose,
Roger Hodgson,
Motorama,
Duran Duran,
Sad Lovers and Giants,
Art Ensemble Of Chicago,
Sonic Youth,
Country Joe & The Fish,
Rhythim Is Rhythim,
The Fugs, The Fugs, The Fugs, The Fugs.
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.