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 Czech Republic and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1967 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Glasgow 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 Captain Beefheart 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 Grandmaster Flash and the Furious Five to the funk kids.
I played it at the 40 Watt.
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 Yazoo. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fad Gadget,
Mandrill,
F. McDonald,
Amon Düül II,
Robert Görl,
Panda Bear,
ABBA,
Heavy D & The Boyz,
Bizarre Inc.,
Derrick May,
Von Mondo,
The Slackers,
Neu!,
The Royal Family And The Poor,
Moss Icon,
kango's stein massive,
The Seeds,
The Remains,
Prince Buster,
Hardrive,
New Order,
Soft Machine,
Saccharine Trust,
Matthew Bourne,
Rites of Spring,
Rosa Yemen,
The Angels of Light,
The Gun Club,
Tom Boy,
Bush Tetras,
UT,
Franke,
Urselle,
Arcadia,
Jesper Dahlbäck,
Steve Hackett,
The West Coast Pop Art Experimental Band,
New Age Steppers,
Royal Trux,
Barry Ungar,
Mary Jane Girls,
Electric Light Orchestra,
Beasts of Bourbon,
Swans,
Vladislav Delay,
Bang on a Can All-Stars,
The Techniques,
David Bowie,
Suicide,
Glambeats Corp.,
The Flesh Eaters,
Soul Sonic Force,
Maurizio,
The Searchers,
Notorious BIG live in Amsterdam,
Amazonics,
Silicon Teens,
Y Pants,
Lou Reed,
Accadde A,
Mark Hollis,
Kango’s Stein Massive,
Nils Olav,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.