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 Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Columbus 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 808 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 The Neon Judgement to the dance 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 The Stooges. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Kango’s Stein Massive,
The Knickerbockers,
Avey Tare,
Infiniti,
The Smiths,
Subhumans,
Scientists,
Albert Ayler,
Radiopuhelimet,
Lightning Bolt,
Babytalk,
Underground Resistance,
Kevin Saunderson,
Niagra,
Oneida,
Eli Mardock,
EPMD,
Louis and Bebe Barron,
DeepChord presents Echospace,
Pierre Henry,
Masters at Work,
the Slits,
Morten Harket,
Deutsch Amerikanische Freundschaft,
Pulsallama,
Scrapy,
Skarface,
Vaughan Mason & Crew,
Sun Ra Arkestra,
Girls At Our Best!,
Lucky Dragons,
The Velvet Underground,
Siouxsie and the Banshees,
Jawbox,
Oblivians,
The Residents,
The Seeds,
Technova,
X-Ray Spex,
Ossler,
Depeche Mode,
Grandmaster Flash and the Furious Five,
Al Stewart,
Minny Pops,
The Divine Comedy,
The Gun Club,
Accadde A,
The Angels of Light,
Throbbing Gristle,
The Toasters,
Gerry Rafferty,
L. Decosne,
Ronnie Foster,
Kenny Larkin,
Derrick Morgan,
Idris Muhammad,
A Flock of Seagulls,
Spandau Ballet,
Heaven 17,
Rowland S Howard / Lydia Lunch,
Sly & The Family Stone,
Shoche, Shoche, Shoche, Shoche.
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.