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 Brunei and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Seoul and Mumbai.
I'm losing my edge to the art-school Spokane 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Infiniti to the jazz 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 John Coltrane. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Khruangbin 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Teenage Jesus and the Jerks,
the Fania All-Stars,
Radiohead,
Soulsonic Force,
Cabaret Voltaire,
The Pretty Things,
Eddi Front,
The Invisible,
Dawn Penn,
Kas Product,
The Cowsills,
Mark Hollis,
The Peanut Butter Conspiracy,
Jesper Dahlback,
Oneida,
Terrestrial Tones,
Arthur Verocai,
Byron Stingily,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bootsy Collins,
Spandau Ballet,
Cluster,
The Gap Band,
James Chance & The Contortions,
The Blackbyrds,
Dennis Brown,
B.T. Express,
Negative Approach,
Country Joe & The Fish,
Notorious Big And Bone Thugs,
Eyeless In Gaza,
Echo & the Bunnymen,
Tears for Fears,
Mr. Review,
Crooked Eye,
Trumans Water,
Maleditus Sound,
Blossom Toes,
Skaos,
PIL,
Index,
Harry Pussy,
Ornette Coleman,
Alton Ellis,
Ken Boothe,
Bill Wells,
Jerry Gold Smith,
Pete Rock & C.L. Smooth,
Mad Mike,
The Moleskins,
the Swans,
Bobbi Humphrey,
Minor Threat,
Eric B and Rakim,
The Raincoats,
The Red Krayola,
Goldenarms,
OOIOO,
The Selecter,
Second Layer,
Black Pus, Black Pus, Black Pus, Black Pus.
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.