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 Uruguay and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1969 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
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 harpsichord sounds with much patience.
I was there when David Bowie 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 Sister Nancy to the dance kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Bang On A Can,
48th St. Collective,
Clear Light,
the Sonics,
Sound Behaviour,
Brass Construction,
Monolake,
The Saints,
Second Layer,
John Holt,
The Sound,
Ash Ra Tempel,
John Lydon,
Bootsy Collins,
Khruangbin,
The Dirtbombs,
Archie Shepp,
Barclay James Harvest,
Deakin,
Jacob Miller,
Supertramp,
Little Man,
The Gap Band,
Aswad,
World's Most,
The Velvet Underground,
Susan Cadogan,
Notorious Big And Bone Thugs,
Grandmaster Flash,
Moss Icon,
Richard Hell and the Voidoids,
Mantronix,
Shuggie Otis,
Eddi Front,
T.S.O.L.,
Gary Puckett & The Union Gap,
Rhythm & Sound,
The Searchers,
Eden Ahbez,
Boredoms,
Ponytail,
Scrapy,
Barrington Levy,
The Slackers,
the Association,
Cluster,
Mad Mike,
The Durutti Column,
Red Lorry Yellow Lorry,
Ultra Naté,
Eric Dolphy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mandrill,
The Neon Judgement,
Iggy Pop,
Nik Kershaw,
Bobby Hutcherson,
Technova,
Fatback Band,
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.