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 Yemen and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Minor Threat to the rock kids.
I played it at the Spitz.
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 Alice Coltrane. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Eurythmics,
Liaisons Dangereuses,
Nik Kershaw,
Ossler,
10cc,
Harpers Bizarre,
Judy Mowatt,
The Gap Band,
Sugar Minott,
Oppenheimer Analysis,
Flamin' Groovies,
Marc Romboy vs. Booka Shade,
The Knickerbockers,
La Düsseldorf,
Susan Cadogan,
The Wake,
Echo & the Bunnymen,
Graham Central Station,
Yaz,
DeepChord presents Echospace,
Gary Puckett & The Union Gap,
The Gories,
The Dirtbombs,
The Chocolate Watch Band,
Joe Finger,
The Index,
Siglo XX,
Black Moon,
L. Decosne,
Sällskapet,
Nation of Ulysses,
Quando Quango,
Soul Sonic Force,
Camberwell Now,
Super Lover Cee & Casanova Rud,
Eric Copeland,
DJ Sneak,
Leonard Cohen,
Scratch Acid,
Andrew Hill,
Spoonie Gee,
Matthew Bourne,
Aloha Tigers,
R.M.O.,
Subhumans,
Thompson Twins,
Cecil Taylor,
Television Personalities,
Eve St. Jones,
The Angels of Light,
Magazine,
Terrestrial Tones,
Monks,
Larry & the Blue Notes,
Kenny Larkin,
Chris Corsano,
Cabaret Voltaire,
The Slits,
The Raincoats,
Man Eating Sloth,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.