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 Seychelles and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Jandek to the rock kids.
I played it at the Astoria.
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 Pierre Henry. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Music Machine,
Gang Green,
Banda Bassotti,
Pharaoh Sanders and the Fire Engines,
The Index,
Liliput,
Nick Fraelich,
Lou Reed & John Cale,
The Blackbyrds,
Cameo,
Aloha Tigers,
CMW,
Joe Smooth,
Peter and Kerry,
Nico,
Royal Trux,
Fad Gadget,
The Searchers,
Teenage Jesus and the Jerks,
Aaron Thompson,
Ice-T,
Talk Talk,
Porter Ricks,
Throbbing Gristle,
Tears for Fears,
B.T. Express,
Model 500,
Metal Thangz,
Joensuu 1685,
Howard Jones,
Bluetip,
Radio Birdman,
London Community Gospel Choir,
The Raincoats,
The Standells,
The Doors,
Beasts of Bourbon,
Kango’s Stein Massive,
Drive Like Jehu,
Absolute Body Control,
PIL,
Jimmy McGriff,
The Cosmic Jokers,
This Heat,
Boredoms,
Radiohead,
Duran Duran,
Jacob Miller,
Funky Four + One,
Glambeats Corp.,
Harry Pussy,
Pete Rock & C.L. Smooth,
Lalo Schifrin,
Black Moon,
Bang On A Can,
Marine Girls,
MDC,
Kevin Saunderson,
Bang on a Can All-Stars,
Super Lover Cee & Casanova Rud,
Arab on Radar,
Little Man, Little Man, Little Man, Little Man.
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.