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 Zambia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Andrew Ashong & Theo Parrish to the crunk kids.
I played it at Trash.
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 Last Poets. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Rowland S Howard / Lydia Lunch,
La Düsseldorf,
Easy Going,
Reagan Youth,
The Zeros,
Brand Nubian,
Faraquet,
Goldenarms,
Robert Görl,
Art Ensemble Of Chicago,
Shoche,
Barclay James Harvest,
Model 500,
Ultimate Spinach,
Dead Boys,
Girls At Our Best!,
Nico,
Susan Cadogan,
a-ha,
Matthew Bourne,
Aaron Thompson,
One Last Wish,
Bill Wells,
CMW,
Rekid,
Janne Schatter,
Audionom,
Television,
The Black Dice,
the Slits,
Flash Fearless,
Ludus,
Sad Lovers and Giants,
Severed Heads,
Tim Buckley,
Metal Thangz,
Thinking Fellers Union Local 282,
Vainqueur,
The Mummies,
UT,
Mars,
Charles Mingus,
T. Rex,
Graham Central Station,
Theoretical Girls,
Boredoms,
Tears for Fears,
Blancmange,
Lee Hazlewood,
The Pop Group,
Television Personalities,
The Toasters,
Bronski Beat,
Agitation Free,
The Saints,
The Kinks,
The Modern Lovers,
David McCallum,
Visionaries,LMNO, T- Love & Iriscience,
Arab on Radar,
X-102, X-102, X-102, X-102.
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.