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 Albania and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Make Up to the grime 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 Ohio Players. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal dance 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Zeros,
the Association,
Man Eating Sloth,
A Certain Ratio,
Gil Scott-Heron & Brian Jackson,
Ultra Naté,
Dawn Penn,
The Selecter,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
John Holt,
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Andrew Ashong & Theo Parrish,
Newcleus,
The Angels of Light,
Nils Olav,
Danielle Patucci,
The Saints,
Rhythm & Sound,
Joe Smooth,
Arthur Verocai,
Organ,
Soft Cell,
Selector Dub Narcotic,
Theoretical Girls,
Cameo,
Underground Resistance,
Crispy Ambulance,
Severed Heads,
Zero Boys,
Gian Franco Pienzio,
Pulsallama,
Motorama,
Smog,
Flash Fearless,
Joey Negro,
UT,
Black Sheep,
8 Eyed Spy,
Parry Music,
Bush Tetras,
Robert Hood,
Radio Birdman,
Albert Ayler,
Television Personalities,
Lonnie Liston Smith,
Scratch Acid,
Unwound,
The Leaves,
Notorious Big And Bone Thugs,
Wasted Youth,
Delta 5,
Ken Boothe,
Byron Stingily,
Slick Rick,
Grey Daturas,
Shuggie Otis,
Saccharine Trust,
Japan,
Minor Threat,
Soulsonic Force,
Sad Lovers and Giants,
Pagans, Pagans, Pagans, Pagans.
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.