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 Colombia and from Seoul.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Woodstock 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 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 Joyce Sims to the funk 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 Boredoms. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Minny Pops,
Faust,
Interpol,
Ronan,
Eric Dolphy,
Oblivians,
MC5,
John Cale,
Richard Hell and the Voidoids,
The Music Machine,
Peter and Kerry,
Iggy Pop,
Roxy Music,
Barclay James Harvest,
The Mojo Men,
Harmonia,
Dawn Penn,
Deepchord,
Qualms,
Gary Puckett & The Union Gap,
The Associates,
Mandrill,
Red Lorry Yellow Lorry,
The J.B.'s,
Porter Ricks,
New York Dolls,
The Divine Comedy,
Michelle Simonal,
Donald Byrd,
Newcleus,
The Black Dice,
Aaron Thompson,
Aural Exciters,
L. Decosne,
Jeru the Damaja,
Fad Gadget,
Arthur Verocai,
Simply Red,
Saccharine Trust,
F. McDonald,
Groovy Waters,
Nation of Ulysses,
The West Coast Pop Art Experimental Band,
Section 25,
Minnie Riperton,
Ohio Players,
Suicide,
Monolake,
The Sound,
Sly & The Family Stone,
Blancmange,
Henry Cow,
Aloha Tigers,
Electric Prunes,
Andrew Hill,
Scientists,
Ossler,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.