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 Mauritius and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Rod Modell to the crunk kids.
I played it at CBGB's.
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 Brothers Johnson. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Bootsy's Rubber Band,
Reagan Youth,
Art Ensemble Of Chicago,
Underground Resistance,
The Moleskins,
Rosa Yemen,
The Golliwogs,
DJ Sneak,
Toni Rubio,
Juan Atkins,
The Monochrome Set,
Aaron Thompson,
Chrome,
Crispian St. Peters,
T.S.O.L.,
Tommy Roe,
Aloha Tigers,
China Crisis,
Thompson Twins,
Amazonics,
The Peanut Butter Conspiracy,
Yellowson,
Sarah Menescal,
Swans,
John Lydon,
Joy Division,
Wings,
Deakin,
Gang Starr,
Tomorrow,
Das Ding,
Rakim,
Fela Kuti,
Absolute Body Control,
Vaughan Mason & Crew,
Index,
Maurizio,
Gabor Szabo,
Ohio Players,
Todd Terry,
Lonnie Liston Smith,
Oneida,
Kango’s Stein Massive,
Echospace,
Pere Ubu,
Ponytail,
Neu!,
Kayak,
Theoretical Girls,
Dr. Dre and Snoop Doggy Dog,
The Doors,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
Godley & Creme,
Avey Tare's Slasher Flicks,
KRS-One,
Glenn Branca,
The Seeds,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.