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 Israel and from Beijing.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 Infiniti to the crunk kids.
I played it at the Spitz.
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 Sonic Youth. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Bobby Byrd 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Young Marble Giants,
Camberwell Now,
Wire,
Bill Near,
The Gap Band,
Reuben Wilson,
Harmonia,
The Buckinghams,
Bob Dylan,
cv313,
Jacques Brel,
Nick Fraelich,
Quadrant,
Althea and Donna,
This Heat,
Maurizio,
Hot Snakes,
The Moleskins,
Thompson Twins,
Depeche Mode,
Idris Muhammad,
Blossom Toes,
Rahsaan Roland Kirk,
Arthur Verocai,
Iggy Pop,
John Foxx,
The Moody Blues,
Tom Boy,
The Modern Lovers,
Monolake,
Silicon Teens,
Stockholm Monsters,
Kango’s Stein Massive,
David Axelrod,
Bobby Hutcherson,
Eric Dolphy,
The Angels of Light,
Sound Behaviour,
Urselle,
Marmalade,
Henry Cow,
Liliput,
Derrick Morgan,
Robert Görl,
Lower 48,
Soul II Soul,
Matthew Bourne,
The Cramps,
The Detroit Cobras,
Pharaoh Sanders and the Fire Engines,
Radio Birdman,
Ornette Coleman,
Zapp,
Rites of Spring,
Wally Richardson,
Scott Walker,
The Mummies,
Reagan Youth,
The Busters,
Sister Nancy,
ABBA,
The Blackbyrds,
Oblivians, Oblivians, Oblivians, Oblivians.
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.