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 Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Iggy Pop to the funk kids.
I played it at the Troubador.
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 Strawberry Alarm Clock. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Letta Mbulu,
The Doors,
Supertramp,
Robert Görl,
Jeru the Damaja,
Inner City,
X-102,
The Fuzztones,
Symarip,
Terry Callier,
Babytalk,
Sonic Youth,
Angry Samoans,
Cluster,
Groovy Waters,
Electric Light Orchestra,
Reuben Wilson,
Unrelated Segments,
Index,
Nick Cave & The Bad Seeds,
Liliput,
Bang On A Can,
New Order,
The Gap Band,
Quantec,
Roy Ayers,
Das Ding,
the Slits,
Marvin Gaye,
the Association,
Arcadia,
Deutsch Amerikanische Freundschaft,
Wings,
Half Japanese,
Fad Gadget,
Gil Scott Heron,
The Angels of Light,
AZ,
It's A Beautiful Day,
Alice Coltrane,
Dawn Penn,
Depeche Mode,
Soulsonic Force,
The Busters,
MDC,
Average White Band,
Unwound,
Judy Mowatt,
Major Organ And The Adding Machine,
The Moody Blues,
Barbara Tucker,
Scott Walker + Sunn O))),
Royal Trux,
Joe Finger,
Rowland S Howard / Lydia Lunch,
Rosa Yemen,
Young Marble Giants,
Radiopuhelimet,
Bronski Beat,
Accadde A, Accadde A, Accadde A, Accadde A.
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.