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 Armenia and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Pere Ubu 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 Kerri Chandler. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
The Mojo Men,
These Immortal Souls,
The Fire Engines,
The Doobie Brothers,
Intrusion,
Quantec,
Althea and Donna,
The Buckinghams,
Rufus Thomas,
Grauzone,
Bill Wells,
The Mighty Diamonds,
Cheater Slicks,
The Selecter,
Stiv Bators,
Toni Rubio,
Theoretical Girls,
Peter & Gordon,
Zapp,
Agent Orange,
The Index,
Pierre Henry,
Gang Starr,
Suburban Knight,
Simply Red,
John Coltrane,
Bronski Beat,
Soft Machine,
Andrew Ashong & Theo Parrish,
Jerry Gold Smith,
The Peanut Butter Conspiracy,
kango's stein massive,
Black Moon,
Sonic Youth,
Little Man,
UT,
Negative Approach,
Gastr Del Sol,
Scratch Acid,
Quadrant,
Ten City,
Electric Prunes,
Silicon Teens,
John Cale,
Glambeats Corp.,
Lower 48,
Slave,
Lucky Dragons,
Arthur Verocai,
Television Personalities,
Manfred Mann's Earth Band,
Fugazi,
Skaos,
Ohio Players,
Nico,
U.S. Maple,
Johnny Clarke,
The Invisible,
James Chance & The Contortions,
Radiohead, Radiohead, Radiohead, Radiohead.
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.