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 Kosovo and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
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 808 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 Teenage Jesus and the Jerks to the grunge 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 Clear Light. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Ultimate Spinach,
The Durutti Column,
a-ha,
Gichy Dan,
Iggy Pop,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Half Japanese,
Electric Prunes,
One Last Wish,
Rekid,
Crispian St. Peters,
Moebius,
Shoche,
Girls At Our Best!,
Bobby Byrd,
Sugar Minott,
Fort Wilson Riot,
Colin Newman,
Strawberry Alarm Clock,
John Foxx,
The Young Rascals,
London Community Gospel Choir,
Slick Rick,
Camouflage,
L. Decosne,
Letta Mbulu,
Easy Going,
Terrestrial Tones,
Morten Harket,
Jacob Miller,
Radiohead,
Reuben Wilson,
Soft Cell,
David Axelrod,
AZ,
Danielle Patucci,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Icehouse,
Teenage Jesus and the Jerks,
Grey Daturas,
Bootsy Collins,
Dead Boys,
The Fuzztones,
Pierre Henry,
Avey Tare & Kría Brekkan,
The Dead C,
Robert Hood,
Eden Ahbez,
Nick Cave & The Bad Seeds,
Q and Not U,
The Shadows of Knight,
The Peanut Butter Conspiracy,
Monolake,
De La Soul & Jungle Brothers,
Black Sheep,
Qualms,
Sight & Sound,
Brass Construction,
The Monochrome Set,
Lucky Dragons,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.