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 Libya and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Mumbai.
I'm losing my edge to the art-school Lille 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 synthesizer 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 Pulsallama to the techno 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 Cecil Taylor. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Gories 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Super Lover Cee & Casanova Rud,
The Move,
Eric Copeland,
Dave Gahan,
Echo & the Bunnymen,
These Immortal Souls,
Gary Puckett & The Union Gap,
John Lydon,
The Names,
Sex Pistols,
The Flesh Eaters,
CMW,
The Royal Family And The Poor,
Liliput,
Dawn Penn,
Tomorrow,
The Count Five,
The Moleskins,
Grey Daturas,
Ituana,
Drive Like Jehu,
Underground Resistance,
It's A Beautiful Day,
The Index,
Loose Ends,
The Evens,
Crispy Ambulance,
48th St. Collective,
Todd Terry,
The Gories,
Animal Collective,
Pole,
Harry Pussy,
The Music Machine,
Boredoms,
Ohio Players,
The Remains,
Ultravox,
Sixth Finger,
Mars,
The Blues Magoos,
Suburban Knight,
Scan 7,
Kevin Saunderson,
The Raincoats,
Matthew Bourne,
Schoolly D,
Urselle,
Fat Boys,
Kayak,
The Doobie Brothers,
Suicide,
The Golliwogs,
Jawbox,
Bang on a Can All-Stars,
Crooked Eye,
John Holt,
Lou Reed & Metallica,
Marshall Jefferson,
Panda Bear,
Hot Snakes,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.