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 Lebanon and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Paris 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 chamberlin 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 The Divine Comedy to the dance kids.
I played it at the Roxy.
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 the Soft Cell. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
The Pretty Things,
The United States of America,
DNA,
New Age Steppers,
Notorious Big And Bone Thugs,
La Düsseldorf,
Gichy Dan,
Interpol,
Arthur Verocai,
The Beau Brummels,
Ash Ra Tempel,
Spandau Ballet,
ABBA,
Ten City,
Unrelated Segments,
Rosa Yemen,
Symarip,
Ultra Naté,
The Dead C,
The Gun Club,
Soul Sonic Force,
Black Flag,
Amon Düül II,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nick Fraelich,
Slave,
Yaz,
Orchestral Manoeuvres in the Dark,
Japan,
Bang On A Can,
Soft Machine,
De La Soul & Jungle Brothers,
Anthony Braxton,
Carl Craig,
Barry Ungar,
Gong,
Smog,
kango's stein massive,
Popol Vuh,
Rufus Thomas,
Stereo Dub,
Roy Ayers,
Country Teasers,
Howard Jones,
Laurel Aitken,
Barrington Levy,
Blancmange,
Super Lover Cee & Casanova Rud,
OOIOO,
Graham Central Station,
Dark Day,
Excepter,
The Selecter,
Depeche Mode,
Black Sheep,
The New Christs,
The Residents,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.