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 United Kingdom and from Tokyo.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Portland 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 snare 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 Remains to the disco kids.
I played it at the Astoria.
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 Aswad. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Gang Starr,
Girls At Our Best!,
John Cale,
Grey Daturas,
DJ Sneak,
Bootsy Collins,
Saccharine Trust,
Louis and Bebe Barron,
Soul II Soul,
Kerri Chandler,
The Neon Judgement,
Parry Music,
Zero Boys,
Boz Scaggs,
Tomorrow,
Scott Walker + Sunn O))),
Aural Exciters,
The Motions,
Black Flag,
Loose Ends,
Soulsonic Force,
Joy Division,
Wolf Eyes,
Second Layer,
the Human League,
Quadrant,
The Evens,
Minny Pops,
Outsiders,
Masters at Work,
Patti Smith,
Ajijia Myrayebe,
The Dead C,
Trumans Water,
Rakim,
Das Ding,
Stetsasonic,
Jacques Brel,
Piero Umiliani,
The Detroit Cobras,
Television Personalities,
Danielle Patucci,
X-Ray Spex,
Bizarre Inc.,
Rahsaan Roland Kirk,
Mr. Review,
Sad Lovers and Giants,
Fela Kuti,
Blossom Toes,
Lee Hazlewood,
Marmalade,
Ohio Players,
Ken Boothe,
the Slits,
8 Eyed Spy,
Eurythmics,
Marc Romboy vs. Booka Shade,
Maleditus Sound,
Eddi Front,
Dave Gahan,
Intrusion,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.