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 Equatorial Guinea and from Sao Paulo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Halifax 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 Deutsch Amerikanische Freundschaft to the techno 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 The Associates. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
the Soft Cell,
DJ Sneak,
the Human League,
Gichy Dan,
Captain Beefheart & His Magic Band,
Toni Rubio,
The Buckinghams,
Second Layer,
Minnie Riperton,
Yellowson,
Curtis Mayfield,
Magma,
Lightning Bolt,
The Mummies,
Oblivians,
Ohio Players,
Lou Reed & Metallica,
The Toasters,
Cluster,
Gang of Four,
Soft Cell,
Deakin,
Oppenheimer Analysis,
The Sound,
Carl Craig,
The Electric Prunes,
OOIOO,
Laurel Aitken,
Malaria!,
The Star Department,
Ossler,
Metal Thangz,
Model 500,
Kurtis Blow,
Nation of Ulysses,
Rakim,
Byron Stingily,
Bobby Womack,
Slave,
Cecil Taylor,
Angels of Light & Akron/Family,
Nick Cave & The Bad Seeds,
Television Personalities,
Gang Green,
Black Bananas,
Arcadia,
Circle Jerks,
The Five Americans,
Stetsasonic,
James White and The Blacks,
Susan Cadogan,
The Leaves,
Bauhaus,
The Selecter,
Rapeman,
The Techniques,
Stockholm Monsters,
Organ,
Louis and Bebe Barron,
The Move,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.