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 Copenhagen.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Kauko Röyhkä ja Narttu to the jazz 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 Buckinghams. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Bauhaus 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin 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 synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Franke,
Lonnie Liston Smith,
The Music Machine,
Ultimate Spinach,
Leonard Cohen,
Scan 7,
Black Bananas,
The Star Department,
The Blackbyrds,
Strawberry Alarm Clock,
Funky Four + One,
The Jesus and Mary Chain,
Bill Near,
The Martian,
Country Joe & The Fish,
Maleditus Sound,
Depeche Mode,
The Walker Brothers,
Frankie Knuckles,
The Smiths,
Eyeless In Gaza,
Subhumans,
Royal Trux,
Sad Lovers and Giants,
Henry Cow,
The Dave Clark Five,
Sun City Girls,
Grandmaster Flash,
The Angels of Light,
Lightning Bolt,
The Flesh Eaters,
Ultravox,
The Doobie Brothers,
Barclay James Harvest,
Barry Ungar,
The Doors,
Wire,
Youth Brigade,
The Buckinghams,
Sam Rivers,
Oblivians,
Röyhkä ja Rättö ja Lehtisalo,
Rakim,
Boz Scaggs,
Colin Newman,
The Royal Family And The Poor,
Theoretical Girls,
Marmalade,
The Victims,
Tres Demented,
Eve St. Jones,
Soft Machine,
Accadde A,
These Immortal Souls,
The Remains,
John Coltrane,
Lou Reed,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.