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 Dominican Republic and from Milan.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 The Fugs to the disco 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 Sparks. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Colin Newman record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
The Invisible,
The Remains,
Jawbox,
Yusef Lateef,
World's Most,
Ralphi Rosario,
Parry Music,
Kauko Röyhkä ja Narttu,
Steve Hackett,
Marcia Griffiths,
Oppenheimer Analysis,
Matthew Halsall,
Jesper Dahlback,
The United States of America,
Gil Scott-Heron & Brian Jackson,
Notorious BIG live in Amsterdam,
Derrick May,
Wolf Eyes,
It's A Beautiful Day,
L. Decosne,
A Flock of Seagulls,
Inner City,
Pussy Galore,
The Martian,
Mars,
Clear Light,
Smog,
Letta Mbulu,
Aswad,
F. McDonald,
Marshall Jefferson,
The Vogues,
Ossler,
X-Ray Spex,
Cluster,
The Move,
Judy Mowatt,
The Monochrome Set,
Kas Product,
The Doobie Brothers,
Thinking Fellers Union Local 282,
Amazonics,
Max Romeo,
Accadde A,
John Foxx,
Charles Mingus,
Ultravox,
Ultramagnetic MC's,
The Mummies,
The Gories,
Lou Reed,
Can,
the Soft Cell,
The Durutti Column,
Livin' Joy,
Pierre Henry,
Gian Franco Pienzio,
Dorothy Ashby,
The Barracudas,
Icehouse,
Sunsets and Hearts,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.