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 Monaco and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school Lyon 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 Lou Reed 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 Unwound to the electroclash 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 John Foxx. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Yazoo 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Eyeless In Gaza,
Brick,
Buzzcocks,
Kerrie Biddell,
Gian Franco Pienzio,
Nik Kershaw,
Sarah Menescal,
Tim Buckley,
Monolake,
The Peanut Butter Conspiracy,
The American Breed,
Ornette Coleman,
Underground Resistance,
Marine Girls,
Lakeside,
Jeff Mills,
The Sisters of Mercy,
Tom Boy,
Trumans Water,
Howard Jones,
U.S. Maple,
Monks,
Yellowson,
Kenny Larkin,
Drexciya,
Porter Ricks,
New Order,
Gregory Isaacs,
Magma,
Marc Almond,
Suburban Knight,
Steve Hackett,
Neu!,
PIL,
The Moody Blues,
Cabaret Voltaire,
Silicon Teens,
The Count Five,
Tropical Tobacco,
Lafayette Afro Rock Band,
Scratch Acid,
F. McDonald,
Kaleidoscope,
The Zeros,
Quadrant,
Charles Mingus,
Aural Exciters,
Man Parrish,
Tubeway Army,
Connie Case,
Slave,
Bang On A Can,
Guru Guru,
Laurel Aitken,
Negative Approach,
Boogie Down Productions,
La Düsseldorf,
Public Image Ltd.,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.