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 East Timor and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Art Ensemble Of Chicago to the rock kids.
I played it at Trash.
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 Fifty Foot Hose. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
John Holt,
A Flock of Seagulls,
Soft Cell,
Siglo XX,
Lalann,
Saccharine Trust,
X-101,
The Alarm Clocks,
The Electric Prunes,
Roxette,
Blossom Toes,
The Divine Comedy,
Cymande,
Tubeway Army,
Erykah Badu,
Dead Boys,
The Fire Engines,
Lyres,
Pharoah Sanders,
Gastr Del Sol,
Brothers Johnson,
Eyeless In Gaza,
Sam Rivers,
Urselle,
Motorama,
Kayak,
Cal Tjader,
Visionaries,LMNO, T- Love & Iriscience,
Rakim,
Scrapy,
Quando Quango,
Black Sheep,
Agent Orange,
Eric B and Rakim,
Man Parrish,
Jeru the Damaja,
Ken Boothe,
Ronnie Foster,
The Doors,
La Düsseldorf,
Toni Rubio,
Eric Dolphy,
JFA,
Red Lorry Yellow Lorry,
The United States of America,
Unrelated Segments,
The Associates,
Scott Walker + Sunn O))),
Avey Tare's Slasher Flicks,
The Raincoats,
Average White Band,
Metal Thangz,
Nick Cave & The Bad Seeds,
Make Up,
Tom Boy,
Y Pants,
Desert Stars,
Eve St. Jones,
EPMD,
Eric Copeland,
The Star Department,
the Germs,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.