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 Argentina and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Lyon 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 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 James Chance & The Contortions to the disco kids.
I played it at Cafe Wha.
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 John Lydon. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
The Alarm Clocks,
The Evens,
Blake Baxter,
Eden Ahbez,
Lucky Dragons,
Theoretical Girls,
Kango’s Stein Massive,
Heavy D & The Boyz,
Silicon Teens,
Richard Hell and the Voidoids,
Joensuu 1685,
the Association,
Spandau Ballet,
Motorama,
Johnny Clarke,
Michelle Simonal,
The Victims,
Scientists,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
Grey Daturas,
Al Stewart,
The Associates,
Barry Ungar,
Joe Smooth,
Sam Rivers,
The Royal Family And The Poor,
Severed Heads,
The Slackers,
Strawberry Alarm Clock,
Pole,
Patti Smith,
Pere Ubu,
Oneida,
The Peanut Butter Conspiracy,
The Techniques,
Q and Not U,
Orchestral Manoeuvres in the Dark,
Gang of Four,
Drexciya,
R.M.O.,
Bill Wells,
Althea and Donna,
Ultra Naté,
Eric Copeland,
Davy DMX,
Mark Hollis,
The Gories,
Jawbox,
The Doobie Brothers,
The Music Machine,
Moby Grape,
Eddi Front,
Jandek,
Cecil Taylor,
The Blues Magoos,
Soft Machine,
The Mighty Diamonds,
Thinking Fellers Union Local 282,
Ituana, Ituana, Ituana, Ituana.
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.