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 Chad and from Woodstock.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Taipei 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 mellotron 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 Arthur Verocai to the electroclash 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 Rhythm & Sound. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal dance 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
DeepChord presents Echospace,
Jerry Gold Smith,
Cymande,
Oneida,
Mo-Dettes,
Slick Rick,
Traffic Nightmare,
Stockholm Monsters,
the Soft Cell,
Matthew Bourne,
The Buckinghams,
Justin Hinds & The Dominoes,
Jesper Dahlbäck,
48th St. Collective,
The Fuzztones,
Stetsasonic,
Chris Corsano,
Ohio Players,
Shuggie Otis,
The Jesus and Mary Chain,
Roxy Music,
D'Angelo,
Ornette Coleman,
Rites of Spring,
Mary Jane Girls,
Average White Band,
The Happenings,
Gastr Del Sol,
Lou Christie,
Ajijia Myrayebe,
Absolute Body Control,
Camron Feat. Memphis Bleek And Beenie Seigel,
Interpol,
The Searchers,
Louis and Bebe Barron,
the Association,
Supertramp,
Eli Mardock,
Tim Buckley,
Throbbing Gristle,
Max Romeo,
London Community Gospel Choir,
Joe Finger,
Von Mondo,
Bootsy's Rubber Band,
Bootsy Collins,
Kool G Rap & DJ Polo,
June Days,
Bauhaus,
Sonny Sharrock,
Crooked Eye,
Television,
It's A Beautiful Day,
Ultramagnetic MC's,
Ronan,
Gang Green,
FM Einheit,
PIL,
The Shadows of Knight,
Flipper,
The Divine Comedy,
The Fall,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.