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 Ivory Coast and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Neu! to the funk 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 The Slackers. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every E-Dancer 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Wire,
Groovy Waters,
Kenny Larkin,
Albert Ayler,
Bobbi Humphrey,
Gil Scott Heron,
Shuggie Otis,
Robert Wyatt,
Sun Ra Arkestra,
Jeff Lynne,
Rapeman,
Delon & Dalcan,
The Offenders,
Ohio Players,
Gichy Dan,
Banda Bassotti,
Bronski Beat,
Camouflage,
Lalo Schifrin,
Model 500,
FM Einheit,
Graham Central Station,
The Smoke,
Pierre Henry,
Circle Jerks,
Notorious Big And Bone Thugs,
Television Personalities,
Kurtis Blow,
Tom Boy,
Bootsy's Rubber Band,
Skriet,
Brothers Johnson,
Rakim,
Aaron Thompson,
Camron Feat. Jay Z And Juelz,
Gil Scott-Heron and Jamie xx,
Fela Kuti,
Lebanon Hanover,
Todd Terry,
Pussy Galore,
The Velvet Underground,
Radio Birdman,
Agent Orange,
The Monochrome Set,
Chris Corsano,
Pere Ubu,
The Smiths,
LL Cool J,
Sun Ra,
Hot Snakes,
The Kinks,
Vainqueur,
Johnny Clarke,
Alice Coltrane,
The Sound,
Marc Almond,
Dave Gahan,
Rotary Connection,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.