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 Kiribati and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Calgary 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Mark Hollis to the punk 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 Count Five. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every DJ Style 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Heavy D & The Boyz,
The Skatalites,
F. McDonald,
Louis and Bebe Barron,
Mad Mike,
Ronnie Foster,
Sister Nancy,
Andrew Ashong & Theo Parrish,
Masters at Work,
Liaisons Dangereuses,
The Move,
Ultimate Spinach,
The Moody Blues,
Gregory Isaacs,
The Buckinghams,
The United States of America,
Gian Franco Pienzio,
Alison Limerick,
Richard Hell and the Voidoids,
Frankie Knuckles,
Max Romeo,
Skaos,
Bill Wells,
The Detroit Cobras,
Flash Fearless,
Freddie Wadling,
The Star Department,
10cc,
John Cale,
Lou Reed & John Cale,
Bobby Hutcherson,
Tubeway Army,
Can,
Johnny Clarke,
K-Klass,
Soft Cell,
Marc Almond,
Alice Coltrane,
E-Dancer,
Jesper Dahlbäck,
Average White Band,
LL Cool J,
Man Eating Sloth,
Deepchord,
Girls At Our Best!,
The Golliwogs,
Smog,
New Age Steppers,
Vainqueur,
Dead Boys,
Crash Course in Science,
Country Joe & The Fish,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
Visionaries,LMNO, T- Love & Iriscience,
Sandy B,
the Soft Cell,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
Minor Threat,
June of 44,
Ultravox,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.