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 Mauritania and from Spokane.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Manila 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 The Star Department to the funk kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The West Coast Pop Art Experimental Band,
Echo & the Bunnymen,
Ituana,
The Saints,
Thompson Twins,
X-102,
the Soft Cell,
Funky Four + One,
Yaz,
Slave,
the Bar-Kays,
Marine Girls,
Patti Smith,
The Slackers,
The Blackbyrds,
Bootsy's Rubber Band,
Stereo Dub,
The Mummies,
The Toasters,
Jeff Mills,
Wighnomy Brothers & Robag Wruhme,
The Mighty Diamonds,
Soulsonic Force,
Barclay James Harvest,
Scan 7,
Qualms,
Eyeless In Gaza,
Lucky Dragons,
Yusef Lateef,
Absolute Body Control,
MC5,
the Germs,
Sad Lovers and Giants,
X-Ray Spex,
Glambeats Corp.,
Mo-Dettes,
Schoolly D,
Rosa Yemen,
The Remains,
Shoche,
The Red Krayola,
Ornette Coleman,
The Black Dice,
Angry Samoans,
Lower 48,
Make Up,
Technova,
Dorothy Ashby,
The Busters,
Zapp,
Harmonia,
Roxy Music,
Joyce Sims,
Teenage Jesus and the Jerks,
Gang Starr,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ten City,
The Angels of Light,
This Heat,
La Düsseldorf,
Young Marble Giants,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.