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 Samoa and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Milan 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Negative Approach to the punk 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 Doors. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Los Fastidios 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
The Victims,
Sad Lovers and Giants,
Public Image Ltd.,
Oppenheimer Analysis,
FM Einheit,
LL Cool J,
John Foxx,
Grandmaster Flash and the Furious Five,
Kerrie Biddell,
Steve Hackett,
Inner City,
The Doobie Brothers,
Sound Behaviour,
Harmonia,
Tim Buckley,
Bad Manners,
James Chance & The Contortions,
Lee Hazlewood,
The Jesus and Mary Chain,
De La Soul & Jungle Brothers,
T. Rex,
Nico,
Pharaoh Sanders and the Fire Engines,
The Five Americans,
Black Pus,
Swell Maps,
The Star Department,
cv313,
Desert Stars,
Ponytail,
David Axelrod,
Hardrive,
Ten City,
Teenage Jesus and the Jerks,
Man Eating Sloth,
Scott Walker,
Peter & Gordon,
Slick Rick,
Can,
Eric Copeland,
Eddi Front,
In Retrospect,
Faust,
Bootsy's Rubber Band,
The Sonics,
Second Layer,
Fad Gadget,
Gang Green,
The Electric Prunes,
Lonnie Liston Smith,
Oblivians,
Motorama,
Charles Mingus,
Hashim,
Max Romeo,
Cymande,
Scott Walker + Sunn O))),
Judy Mowatt,
The Slits,
Mission of Burma,
Sarah Menescal,
The Residents, The Residents, The Residents, The Residents.
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.