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 Angola and from Lille.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
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 spring reverb 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 Second Layer to the jazz kids.
I played it at the Crocodile.
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 Circle Jerks. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Chocolate Watch Band,
LL Cool J,
Gil Scott-Heron & Brian Jackson,
Robert Hood,
Television,
Siouxsie and the Banshees,
Massinfluence,
Jeff Mills,
Inner City,
Johnny Clarke,
Clear Light,
Minnie Riperton,
Rekid,
the Soft Cell,
Super Lover Cee & Casanova Rud,
Jesper Dahlbäck,
Dual Sessions,
Joey Negro,
Marc Almond,
The Offenders,
Amon Düül II,
Lower 48,
A Flock of Seagulls,
Boredoms,
Glenn Branca,
Negative Approach,
PIL,
Skaos,
Crash Course in Science,
Flamin' Groovies,
Judy Mowatt,
Porter Ricks,
Frankie Knuckles,
Scrapy,
Grandmaster Flash,
The American Breed,
Scott Walker + Sunn O))),
Black Bananas,
Kurtis Blow,
The Electric Prunes,
Black Flag,
Swans,
Bang On A Can,
X-102,
Andrew Ashong & Theo Parrish,
Niagra,
Roxy Music,
Bluetip,
Nico,
MDC,
New York Dolls,
Deepchord,
OOIOO,
Absolute Body Control,
Visage,
Agent Orange,
The Five Americans,
a-ha,
CMW,
The Black Dice,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.