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 Trinidad & Tobago and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Lille 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Siglo XX to the jazz 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 Crime. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Kayak 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Super Lover Cee & Casanova Rud,
Crispy Ambulance,
Swans,
Metal Thangz,
A Certain Ratio,
Ossler,
Nick Fraelich,
Ituana,
Kevin Saunderson,
David Axelrod,
Pere Ubu,
Audionom,
Howard Jones,
Pharaoh Sanders and the Fire Engines,
Stockholm Monsters,
Lyres,
Model 500,
Barrington Levy,
Monks,
Cecil Taylor,
The Evens,
Sly & The Family Stone,
Michelle Simonal,
Liliput,
Skarface,
Major Organ And The Adding Machine,
Ultra Naté,
Babytalk,
The Beau Brummels,
Zero Boys,
Tubeway Army,
Whodini,
Swell Maps,
Sight & Sound,
The Moody Blues,
The Leaves,
Richard Hell and the Voidoids,
Ice-T,
Rhythm & Sound,
Oblivians,
Minor Threat,
The Five Americans,
Moss Icon,
Lucky Dragons,
Crooked Eye,
T.S.O.L.,
Roy Ayers Ubiquity,
OOIOO,
Ohio Players,
Yaz,
Funky Four + One,
Neil Young & Crazy Horse,
Surgeon,
Charles Mingus,
Bronski Beat,
Ash Ra Tempel,
Rufus Thomas,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.