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 Bosnia Herzegovina and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Paris and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Mummies to the crunk kids.
I played it at Trash.
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 The Wake. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Pierre Henry 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Alton Ellis,
The Slits,
Clear Light,
Stereo Dub,
The Evens,
Magazine,
Vainqueur,
Jacob Miller,
The Flesh Eaters,
Franke,
The Golliwogs,
Black Moon,
Josef K,
Au Pairs,
Girls At Our Best!,
Harpers Bizarre,
Massinfluence,
Jacques Brel,
Heavy D & The Boyz,
Hoover,
Boredoms,
Ludus,
Surgeon,
Graham Central Station,
Organ,
Sparks,
Byron Stingily,
The Gap Band,
Angry Samoans,
Cluster,
Dorothy Ashby,
cv313,
The Black Dice,
Suicide,
Von Mondo,
The Trojans,
F. McDonald,
Liaisons Dangereuses,
Intrusion,
The Fire Engines,
Subhumans,
Alice Coltrane,
Scrapy,
Sonic Youth,
Theoretical Girls,
Parry Music,
Zapp,
Blancmange,
Jeff Mills,
Terry Callier,
Ken Boothe,
Swell Maps,
Siglo XX,
Minor Threat,
Vaughan Mason & Crew,
Slick Rick,
Minnie Riperton,
A Flock of Seagulls,
Ronan,
The Dave Clark Five,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.