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 Korea South and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Manila.
I'm losing my edge to the art-school Columbus 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 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 Barbara Tucker to the crunk kids.
I played it at the Crocodile.
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 Techniques. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Jacques Brel 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
MC5,
Soft Machine,
Red Lorry Yellow Lorry,
The Cure,
London Community Gospel Choir,
These Immortal Souls,
Severed Heads,
Joensuu 1685,
Pulsallama,
Half Japanese,
Sugar Minott,
Chrome,
Brass Construction,
Spoonie Gee,
Black Bananas,
Ultimate Spinach,
Bobby Hutcherson,
Ituana,
Kaleidoscope,
Eve St. Jones,
Flipper,
John Cale,
Ronnie Foster,
Gregory Isaacs,
Eurythmics,
Mandrill,
Brand Nubian,
The Blackbyrds,
Godley & Creme,
Fat Boys,
Patti Smith,
Thompson Twins,
Suburban Knight,
The Leaves,
Roxette,
Gian Franco Pienzio,
The Last Poets,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Victims,
Art Ensemble Of Chicago,
The Vogues,
Clear Light,
The West Coast Pop Art Experimental Band,
Dual Sessions,
The Durutti Column,
Pussy Galore,
Subhumans,
Schoolly D,
Ultra Naté,
Boz Scaggs,
The Red Krayola,
Grandmaster Flash and the Furious Five,
Delon & Dalcan,
Trumans Water,
James Chance & The Contortions,
Livin' Joy,
Desert Stars,
Peter and Kerry,
Johnny Clarke,
Orchestral Manoeuvres in the Dark,
Lakeside, Lakeside, Lakeside, Lakeside.
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.