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 Micronesia and from Houston.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Captain Beefheart 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 The Detroit Cobras to the jazz kids.
I played it at the Crocodile.
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 Tropical Tobacco. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Spandau Ballet,
Junior Murvin,
Louis and Bebe Barron,
Joensuu 1685,
The Trojans,
Stetsasonic,
Sixth Finger,
Goldenarms,
Magazine,
The Leaves,
Kool G Rap & DJ Polo,
Howard Jones,
the Association,
Ultravox,
Ultra Naté,
Funky Four + One,
Sällskapet,
Sugar Minott,
Nick Fraelich,
Oppenheimer Analysis,
Pantytec,
Dr. Dre and Snoop Doggy Dog,
Barclay James Harvest,
Minutemen,
Intrusion,
Silicon Teens,
Eurythmics,
Todd Terry,
The Durutti Column,
Freddie Wadling,
Pole,
Deadbeat,
Delta 5,
Eddi Front,
Barrington Levy,
Kauko Röyhkä ja Narttu,
The Raincoats,
Pylon,
Boogie Down Productions,
Hot Snakes,
The Blues Magoos,
The Pretty Things,
New Age Steppers,
Al Stewart,
The Fall,
X-102,
Matthew Bourne,
Davy DMX,
Quadrant,
Andrew Hill,
Gary Puckett & The Union Gap,
Harmonia,
Second Layer,
Scion,
Public Enemy,
LL Cool J,
Maleditus Sound,
Loose Ends,
Ten City,
The Peanut Butter Conspiracy,
Idris Muhammad,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.