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 Jamaica and from Tehran.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
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 guitar sounds with much patience.
I was there when Lou Reed 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 Lalann to the rock kids.
I played it at the Troubador.
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 Icehouse. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every the Swans 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid 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?
Ohio Players,
June Days,
Gerry Rafferty,
CMW,
Radio Birdman,
Teenage Jesus and the Jerks,
Royal Trux,
Barclay James Harvest,
Bootsy Collins,
The Count Five,
Arcadia,
The Red Krayola,
Terrestrial Tones,
X-Ray Spex,
The Seeds,
OOIOO,
Nik Kershaw,
Reuben Wilson,
Average White Band,
Leonard Cohen,
The Pop Group,
Black Moon,
Gregory Isaacs,
James White and The Blacks,
U.S. Maple,
The J.B.'s,
John Holt,
Blancmange,
Prince Buster,
Sam Rivers,
Section 25,
Crooked Eye,
Mo-Dettes,
the Normal,
Godley & Creme,
The Associates,
Kings Of Tomorrow,
Oblivians,
Pantaleimon,
Maurizio,
Louis and Bebe Barron,
Aloha Tigers,
Skaos,
Michelle Simonal,
Can,
Gastr Del Sol,
Robert Hood,
The Neon Judgement,
Depeche Mode,
The Sisters of Mercy,
The Mojo Men,
Crime,
The Standells,
Marc Almond,
Monks,
T. Rex,
Minny Pops,
Marine Girls,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.