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 Azerbaijan and from London.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1979.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 David Bowie 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 Ornette Coleman to the punk kids.
I played it at the 40 Watt.
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 Tremeloes. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal rock 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Absolute Body Control,
Brass Construction,
DeepChord presents Echospace,
Cluster,
The Gladiators,
Sonny Sharrock,
Sugar Minott,
The Modern Lovers,
Rod Modell,
Charles Mingus,
Bobby Byrd,
Organ,
The Monks,
The Gories,
Anthony Braxton,
Girls At Our Best!,
Nick Cave & The Bad Seeds,
Q65,
Basic Channel,
Khruangbin,
Donny Hathaway,
The Happenings,
James Chance & The Contortions,
Amazonics,
Sixth Finger,
Echo & the Bunnymen,
Moby Grape,
Hot Snakes,
Ossler,
David Bowie,
Liaisons Dangereuses,
Kango’s Stein Massive,
Crispian St. Peters,
Wasted Youth,
Echospace,
Stockholm Monsters,
Colin Newman,
Althea and Donna,
Max Romeo,
Eve St. Jones,
The American Breed,
The Motions,
Yazoo,
Young Marble Giants,
Eli Mardock,
CMW,
Interpol,
Lakeside,
The Shadows of Knight,
Dark Day,
Neu!,
Tim Buckley,
Monolake,
Barrington Levy,
the Sonics,
Electric Light Orchestra,
Neil Young,
Mission of Burma,
Lou Reed,
Excepter,
New Order, New Order, New Order, New Order.
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.