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 Italy and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Manila 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Sunsets and Hearts to the grunge kids.
I played it at the Astoria.
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 The Neon Judgement. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Loose Ends 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Al Stewart,
Pantaleimon,
Panda Bear,
Judy Mowatt,
Bootsy's Rubber Band,
New Order,
Red Lorry Yellow Lorry,
Vaughan Mason & Crew,
Pantytec,
It's A Beautiful Day,
The Wake,
Mary Jane Girls,
The Slackers,
The Evens,
Maleditus Sound,
The Cramps,
Tears for Fears,
Technova,
Sister Nancy,
Thee Headcoats,
The Gun Club,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Eden Ahbez,
Ornette Coleman,
Johnny Osbourne,
Man Eating Sloth,
Eric Copeland,
Metal Thangz,
Graham Central Station,
Ponytail,
The Monks,
Fort Wilson Riot,
Bang on a Can All-Stars,
Curtis Mayfield,
New York Dolls,
Bluetip,
Davy DMX,
Chris Corsano,
The Birthday Party,
Gary Puckett & The Union Gap,
Marcia Griffiths,
Gregory Isaacs,
The Fire Engines,
Sexual Harrassment,
Sun Ra,
Gastr Del Sol,
X-Ray Spex,
The Music Machine,
cv313,
Todd Terry,
Blossom Toes,
Electric Prunes,
Rekid,
Arthur Verocai,
Jacques Brel,
Alton Ellis,
Marvin Gaye,
Dave Gahan,
The Seeds,
Joy Division,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.