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 Djibouti and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Matthew Halsall to the rap 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 Strawberry Alarm Clock. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Visionaries,LMNO, T- Love & Iriscience,
Alton Ellis,
Accadde A,
The Motions,
The Blues Magoos,
It's A Beautiful Day,
Marine Girls,
The Walker Brothers,
Angry Samoans,
PIL,
Audionom,
Banda Bassotti,
T. Rex,
Slick Rick,
Ice-T,
Minny Pops,
The Associates,
Glenn Branca,
kango's stein massive,
Bluetip,
Sad Lovers and Giants,
Freddie Wadling,
Barclay James Harvest,
Gang Starr,
Harpers Bizarre,
Avey Tare's Slasher Flicks,
Deepchord,
Al Stewart,
The Seeds,
Fat Boys,
the Slits,
John Lydon,
Negative Approach,
Nico,
Slave,
Matthew Bourne,
Gian Franco Pienzio,
Newcleus,
Trumans Water,
Japan,
Stockholm Monsters,
Girls At Our Best!,
Supertramp,
The Fall,
Section 25,
Tommy Roe,
John Coltrane,
The Invisible,
Aaron Thompson,
Cecil Taylor,
Strawberry Alarm Clock,
Pantaleimon,
Pharoah Sanders,
Cluster,
Man Parrish,
Steve Hackett,
Derrick Morgan,
Maleditus Sound,
The Monks,
Frankie Knuckles,
the Association,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.