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 Tanzania and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Beijing 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Mark Hollis to the jazz kids.
I played it at the Crocodile.
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 Drive Like Jehu. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
The Litter,
The Skatalites,
Y Pants,
Grey Daturas,
The Sound,
The New Christs,
Excepter,
The Mojo Men,
Al Stewart,
Alison Limerick,
PIL,
Soft Cell,
Dennis Brown,
D'Angelo,
Alton Ellis,
The Associates,
Man Eating Sloth,
Porter Ricks,
MDC,
Monks,
Wally Richardson,
Agitation Free,
Lebanon Hanover,
Black Sheep,
Aloha Tigers,
The Wake,
The Gun Club,
Red Lorry Yellow Lorry,
Gabor Szabo,
Johnny Osbourne,
Sun Ra,
Absolute Body Control,
The Slackers,
Rowland S Howard / Lydia Lunch,
Andrew Ashong & Theo Parrish,
These Immortal Souls,
The Birthday Party,
Bobby Sherman,
Connie Case,
Sonic Youth,
Public Enemy,
Lucky Dragons,
Lafayette Afro Rock Band,
Barbara Tucker,
Underground Resistance,
The Five Americans,
Tubeway Army,
Alphaville,
Larry & the Blue Notes,
Heavy D & The Boyz,
Pantaleimon,
Minny Pops,
The Leaves,
Sarah Menescal,
Kas Product,
Tomorrow,
Andrew Hill,
Slave,
Pete Rock & C.L. Smooth,
Desert Stars,
Main Source,
The Smiths, The Smiths, The Smiths, The Smiths.
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.