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 Netherlands and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Manila 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 marimba 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 Justin Hinds & The Dominoes to the techno kids.
I played it at Trash.
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 Lucky Dragons. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every the Slits 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 clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Laurel Aitken,
Moss Icon,
Tubeway Army,
Ajijia Myrayebe,
Make Up,
DeepChord presents Echospace,
Reagan Youth,
Curtis Mayfield,
The Durutti Column,
Parry Music,
Ten City,
Hashim,
The Grass Roots,
Gong,
Rahsaan Roland Kirk,
Animal Collective,
Loose Ends,
The Index,
the Normal,
Juan Atkins,
The Smoke,
Excepter,
The Angels of Light,
Television Personalities,
Larry & the Blue Notes,
Minutemen,
The Music Machine,
E-Dancer,
Unrelated Segments,
PIL,
Lizzy Mercier Descloux,
The Wake,
Icehouse,
Gabor Szabo,
Funky Four + One,
The Mummies,
B.T. Express,
Archie Shepp,
Joe Smooth,
Lee Hazlewood,
Danielle Patucci,
June of 44,
Wolf Eyes,
One Last Wish,
Alison Limerick,
Agitation Free,
Marshall Jefferson,
Second Layer,
Vainqueur,
Bang On A Can,
Public Image Ltd.,
Lakeside,
Marcia Griffiths,
Minny Pops,
Spandau Ballet,
Dave Gahan,
Rhythm & Sound,
The West Coast Pop Art Experimental Band,
The Chocolate Watch Band,
Section 25,
Lonnie Liston Smith,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.