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 Solomon Islands and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Shanghai 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 Glenn Branca to the crunk kids.
I played it at the Hacienda.
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 PIL. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Masters at Work,
Yellowson,
Peter & Gordon,
the Fania All-Stars,
Quando Quango,
cv313,
The Grass Roots,
Pere Ubu,
The Modern Lovers,
Fat Boys,
Warren Ellis,
Wings,
Skriet,
Urselle,
The Monks,
Parry Music,
Unrelated Segments,
Soft Cell,
Grandmaster Flash and the Furious Five,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Trumans Water,
Lucky Dragons,
Marvin Gaye,
Davy DMX,
Outsiders,
Eric Copeland,
The Stooges,
Faraquet,
Rhythim Is Rhythim,
Godley & Creme,
Pole,
Excepter,
Con Funk Shun,
Soulsonic Force,
Tomorrow,
Black Flag,
In Retrospect,
The Sound,
Glenn Branca,
Mr. Review,
Lizzy Mercier Descloux,
Curtis Mayfield,
Freddie Wadling,
Danielle Patucci,
Yazoo,
The Busters,
Groovy Waters,
Q and Not U,
Gregory Isaacs,
Gang Starr,
Quantec,
Mark Hollis,
Henry Cow,
Accadde A,
Tubeway Army,
Iggy Pop,
Glambeats Corp.,
Lou Reed,
The Move,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.