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 Korea South and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Lille 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 David Bowie 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 Mars to the techno 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 Moebius. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Blake Baxter,
Barclay James Harvest,
Johnny Osbourne,
Gary Puckett & The Union Gap,
Skarface,
Bill Near,
Byron Stingily,
Monks,
Symarip,
Glenn Branca,
Quantec,
Brick,
Connie Case,
Urselle,
The Toasters,
The Count Five,
Outsiders,
Marine Girls,
The Residents,
Roger Hodgson,
Tomorrow,
The Smoke,
Lebanon Hanover,
The Busters,
Terror Squad Feat. Camron,
Absolute Body Control,
World's Most,
Aural Exciters,
Pharaoh Sanders and the Fire Engines,
Grandmaster Flash,
Iggy Pop,
The Grass Roots,
the Fania All-Stars,
Terry Callier,
The Sisters of Mercy,
LL Cool J,
Amon Düül II,
U.S. Maple,
The Buckinghams,
Popol Vuh,
Jerry's Kids,
X-Ray Spex,
B.T. Express,
Jerry Gold Smith,
Robert Hood,
the Human League,
Siouxsie and the Banshees,
Aloha Tigers,
The Seeds,
Hashim,
Manfred Mann's Earth Band,
Sex Pistols,
Gong,
The Monochrome Set,
Major Organ And The Adding Machine,
Monolake,
John Coltrane,
Soft Cell,
Marc Almond,
Jeff Mills,
The Fall,
Faust, Faust, Faust, Faust.
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.