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 Kyrgyzstan and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 UT 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 Loose Ends. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a linndrum 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
L. Decosne,
Half Japanese,
Popol Vuh,
Country Joe & The Fish,
Deepchord,
Circle Jerks,
Piero Umiliani,
The Electric Prunes,
Nils Olav,
Todd Rundgren,
Jawbox,
Fluxion,
Lou Christie,
Saccharine Trust,
Barbara Tucker,
Radiopuhelimet,
Basic Channel,
Q65,
Jeff Lynne,
Beasts of Bourbon,
Big Daddy Kane,
Boredoms,
The Cure,
Rufus Thomas,
Peter Gordon & Love of Life Orchestra,
The Alarm Clocks,
Marvin Gaye,
Adolescents,
The Standells,
Gichy Dan,
Das Ding,
Magma,
The Black Dice,
Grey Daturas,
Absolute Body Control,
Mark Hollis,
Simply Red,
Grandmaster Flash and the Furious Five,
10cc,
Avey Tare's Slasher Flicks,
X-Ray Spex,
Bobby Hutcherson,
Barclay James Harvest,
Marc Almond,
Aural Exciters,
Drexciya,
The American Breed,
The Knickerbockers,
Blossom Toes,
Pussy Galore,
Jerry's Kids,
Lakeside,
Easy Going,
Ohio Players,
World's Most,
Young Marble Giants,
Yazoo,
U.S. Maple,
Chris & Cosey,
Second Layer,
The Dirtbombs,
Japan, Japan, Japan, Japan.
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.