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 Marshall Islands and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Beijing 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 mellotron 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 Donald Byrd 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 Country Teasers. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Agent Orange 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 '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Joe Finger,
Althea and Donna,
Sight & Sound,
Soft Cell,
the Bar-Kays,
Bill Wells,
In Retrospect,
Byron Stingily,
A Flock of Seagulls,
The Fortunes,
Glambeats Corp.,
Saccharine Trust,
the Germs,
Kas Product,
Gregory Isaacs,
Public Image Ltd.,
MDC,
The Standells,
The Remains,
Sun Ra,
Deutsch Amerikanische Freundschaft,
Desert Stars,
Mandrill,
James White and The Blacks,
Colin Newman,
The Dave Clark Five,
Ash Ra Tempel,
Sex Pistols,
Unrelated Segments,
Radiopuhelimet,
Boz Scaggs,
Hoover,
Q65,
Zapp,
Electric Light Orchestra,
The New Christs,
John Holt,
Drexciya,
Young Marble Giants,
The Five Americans,
Mr. Review,
Guru Guru,
Symarip,
David Axelrod,
Nirvana,
Bob Dylan,
The Victims,
Quadrant,
Brand Nubian,
Soul Sonic Force,
The Leaves,
Wolf Eyes,
Unwound,
Gong,
The Gladiators,
Bobbi Humphrey,
Index,
Chris & Cosey,
Organ,
Todd Rundgren,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.