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 Barbados and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 Absolute Body Control to the disco 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 Second Layer. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
The Fuzztones,
The Red Krayola,
the Bar-Kays,
Avey Tare & Kría Brekkan,
Angry Samoans,
Tears for Fears,
Soft Machine,
Jeff Lynne,
The Music Machine,
Throbbing Gristle,
The Slits,
Suburban Knight,
Barbara Tucker,
Lower 48,
Au Pairs,
Quando Quango,
The Tremeloes,
Drive Like Jehu,
The Electric Prunes,
The Smiths,
Curtis Mayfield,
Gil Scott Heron,
Nick Fraelich,
Pagans,
James Chance & The Contortions,
Monolake,
Lindisfarne,
The Offenders,
Louis and Bebe Barron,
Shuggie Otis,
Aural Exciters,
The Misunderstood,
the Human League,
The Vogues,
Das Ding,
Sandy B,
Jacob Miller,
Zapp,
DeepChord presents Echospace,
Juan Atkins,
Moebius,
Leonard Cohen,
Cal Tjader,
Lee Hazlewood,
Deepchord,
Kauko Röyhkä ja Narttu,
Scan 7,
Terror Squad Feat. Camron,
Nirvana,
The Gun Club,
Peter & Gordon,
Hot Snakes,
Rowland S Howard / Lydia Lunch,
The Stooges,
Scrapy,
Avey Tare's Slasher Flicks,
Lou Reed,
Porter Ricks,
Patti Smith,
Yellowson,
Supertramp, Supertramp, Supertramp, Supertramp.
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.