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 Bolivia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Cairo and Lagos.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Zapp to the jazz 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 Visage. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every The Count Five 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Louis and Bebe Barron,
Terry Callier,
Bluetip,
New York Dolls,
EPMD,
Alphaville,
Eric B and Rakim,
Man Eating Sloth,
Yellowson,
the Bar-Kays,
Lebanon Hanover,
Glenn Branca,
Aswad,
The Moleskins,
Main Source,
Be Bop Deluxe,
Blancmange,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Fifty Foot Hose,
Matthew Bourne,
Lou Reed,
Laurel Aitken,
John Holt,
In Retrospect,
Flipper,
The Velvet Underground,
Babytalk,
Ultra Naté,
Eve St. Jones,
Judy Mowatt,
Arab on Radar,
John Coltrane,
Juan Atkins,
Strawberry Alarm Clock,
Gerry Rafferty,
Camron Feat. Jay Z And Juelz,
Super Lover Cee & Casanova Rud,
The Doors,
The Gladiators,
Sight & Sound,
Junior Murvin,
Amon Düül,
Scan 7,
Television Personalities,
The Star Department,
Godley & Creme,
Wings,
Simply Red,
Theoretical Girls,
Jerry's Kids,
Magazine,
The Pop Group,
Tres Demented,
Alison Limerick,
Rotary Connection,
Roxette,
Angels of Light & Akron/Family,
Vladislav Delay,
F. McDonald,
Essential Logic,
Roger Hodgson,
Drive Like Jehu,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.