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 Kyrgyzstan and from Madrid.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in 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 Lungfish to the jazz 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 Joe Finger. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Bill Near 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar 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 harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Amon Düül,
Animal Collective,
Supertramp,
The Victims,
Glenn Branca,
Mars,
The Blues Magoos,
Jerry's Kids,
Kas Product,
Echospace,
Goldenarms,
London Community Gospel Choir,
The Monks,
Roger Hodgson,
Maurizio,
Skarface,
The Associates,
Angels of Light & Akron/Family,
Tomorrow,
Easy Going,
The Zeros,
Khruangbin,
Scrapy,
Freddie Wadling,
Marshall Jefferson,
Red Lorry Yellow Lorry,
Boredoms,
Eric Copeland,
Lower 48,
The Standells,
John Lydon,
Sly & The Family Stone,
Sight & Sound,
Be Bop Deluxe,
Motorama,
Nik Kershaw,
Eric Dolphy,
Gian Franco Pienzio,
The Men They Couldn't Hang,
Spoonie Gee,
Avey Tare,
Loose Ends,
Grey Daturas,
China Crisis,
Arthur Verocai,
Derrick Morgan,
The Moleskins,
Dorothy Ashby,
Black Moon,
Kenny Larkin,
Gil Scott-Heron and Jamie xx,
Frankie Knuckles,
De La Soul & Jungle Brothers,
U.S. Maple,
Matthew Halsall,
Johnny Osbourne,
Faust,
Chris & Cosey,
Scratch Acid,
Depeche Mode,
James Chance & The Contortions,
June Days,
Eden Ahbez,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.