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 Israel and from Lyon.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Beijing and Calgary.
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 1968 at the first Bowie practice in a loft in Bromley.
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 Sound Behaviour to the techno kids.
I played it at the Hacienda.
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 Bar-Kays. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Robert Wyatt 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Cure,
Hardrive,
Ronan,
Hasil Adkins,
The Mojo Men,
the Slits,
Ornette Coleman,
Red Lorry Yellow Lorry,
Siouxsie and the Banshees,
Warsaw,
Sunsets and Hearts,
Lou Reed,
Andrew Ashong & Theo Parrish,
Kerrie Biddell,
Bobby Byrd,
The Velvet Underground,
Black Flag,
Babytalk,
The Smiths,
Slave,
Sight & Sound,
Johnny Osbourne,
Swans,
Rufus Thomas,
Rekid,
Rhythm & Sound,
Prince Buster,
Wings,
Ajijia Myrayebe,
Scratch Acid,
Max Romeo,
Pantytec,
Bang On A Can,
Inner City,
The Blues Magoos,
Technova,
Lizzy Mercier Descloux,
X-102,
Erykah Badu,
Young Marble Giants,
Average White Band,
Throbbing Gristle,
Siglo XX,
Gil Scott-Heron & Brian Jackson,
Nirvana,
Dawn Penn,
Cecil Taylor,
Deadbeat,
Barclay James Harvest,
The Misunderstood,
Joyce Sims,
Sparks,
cv313,
The United States of America,
Khruangbin,
Mary Jane Girls,
Johnny Clarke,
Rapeman,
Kurtis Blow,
Pere Ubu,
Hashim,
Los Fastidios,
Sun Ra Arkestra,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.