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 Estonia and from Manchester.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Subhumans to the electroclash 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 Audionom. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
the Germs,
Lucky Dragons,
Qualms,
Simply Red,
These Immortal Souls,
Alison Limerick,
Gerry Rafferty,
Yellowson,
Eddi Front,
Sam Rivers,
Zapp,
Johnny Clarke,
Malaria!,
Bizarre Inc.,
Chrome,
Soft Cell,
Hasil Adkins,
Bang On A Can,
The Stooges,
Lower 48,
the Association,
The Monks,
X-Ray Spex,
Nation of Ulysses,
Minutemen,
Blossom Toes,
Teenage Jesus and the Jerks,
Letta Mbulu,
Royal Trux,
U.S. Maple,
Delon & Dalcan,
The Peanut Butter Conspiracy,
Magma,
Be Bop Deluxe,
Brothers Johnson,
Glambeats Corp.,
Popol Vuh,
Maleditus Sound,
Sight & Sound,
Fort Wilson Riot,
Joyce Sims,
Fear,
The Five Americans,
Avey Tare & Kría Brekkan,
DeepChord presents Echospace,
Connie Case,
Bootsy Collins,
Whodini,
Brass Construction,
The Gories,
ABC,
Cameo,
Sparks,
Spandau Ballet,
Sandy B,
Lou Reed & Metallica,
Carl Craig,
Jawbox,
Marc Almond,
Rekid,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.