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 Mozambique and from Paris.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Winnipeg.
I'm losing my edge to the art-school Cairo 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 organ 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 The Vogues to the techno kids.
I played it at the Spitz.
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 Michelle Simonal. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
The Fortunes,
Niagra,
Index,
Chris Corsano,
FM Einheit,
Sex Pistols,
Model 500,
Max Romeo,
Marcia Griffiths,
Teenage Jesus and the Jerks,
Lyres,
Nas,
Kaleidoscope,
Rakim,
The Monks,
The Sound,
The Alarm Clocks,
Scion,
Zapp,
Super Lover Cee & Casanova Rud,
Alison Limerick,
Bang On A Can,
Louis and Bebe Barron,
Don Cherry,
Scott Walker + Sunn O))),
Mad Mike,
Robert Görl,
Nirvana,
Kas Product,
Warsaw,
Cecil Taylor,
T.S.O.L.,
David Bowie,
Black Pus,
Young Marble Giants,
London Community Gospel Choir,
The Black Dice,
Pantytec,
Porter Ricks,
Henry Cow,
Laurel Aitken,
Los Fastidios,
CMW,
Terry Callier,
Scrapy,
Faust,
Soft Cell,
Nico,
Cybotron,
The Walker Brothers,
The Gun Club,
Matthew Halsall,
Neu!,
Jimmy McGriff,
Deepchord,
Sexual Harrassment,
Interpol,
The Neon Judgement,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.