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 Togo and from Winnipeg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Edmonton.
I'm losing my edge to the art-school Glasgow 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 DeepChord presents Echospace to the grunge kids.
I played it at Cafe Wha.
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 Busters. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Traffic Nightmare,
Curtis Mayfield,
Delon & Dalcan,
Throbbing Gristle,
Barbara Tucker,
Faraquet,
Reuben Wilson,
the Germs,
Mission of Burma,
The Last Poets,
The Sonics,
Albert Ayler,
Spoonie Gee,
Josef K,
Dawn Penn,
Jesper Dahlbäck,
Rapeman,
The Five Americans,
The Techniques,
Marc Almond,
The Dirtbombs,
Amon Düül II,
The Toasters,
PIL,
The Slackers,
Barclay James Harvest,
Procol Harum,
Scratch Acid,
Rites of Spring,
Unrelated Segments,
Derrick Morgan,
Nas,
Jerry's Kids,
Bobby Sherman,
Max Romeo,
Urselle,
Kurtis Blow,
The Gladiators,
A Certain Ratio,
Essential Logic,
ABBA,
Jeff Mills,
Bang On A Can,
Pierre Henry,
Supertramp,
Index,
Aswad,
The Leaves,
Ohio Players,
kango's stein massive,
Ultimate Spinach,
Deutsch Amerikanische Freundschaft,
Sex Pistols,
CMW,
Theoretical Girls,
L. Decosne,
Moby Grape,
Intrusion,
Gary Puckett & The Union Gap,
Silicon Teens,
Grauzone,
Cameo, Cameo, Cameo, Cameo.
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.