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 Armenia 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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Lower 48 to the disco kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Royal Trux,
Half Japanese,
Soft Cell,
The Remains,
Khruangbin,
The Selecter,
Eric B and Rakim,
The Golliwogs,
ABBA,
Camberwell Now,
Brick,
Sixth Finger,
the Germs,
Lebanon Hanover,
Tres Demented,
John Cale,
Heavy D & The Boyz,
Delta 5,
Jerry Gold Smith,
Barrington Levy,
The Fall,
Bobbi Humphrey,
Technova,
The Moody Blues,
The Mummies,
Dark Day,
Rites of Spring,
The Blues Magoos,
The Pop Group,
Peter Gordon & Love of Life Orchestra,
Leonard Cohen,
KRS-One,
Marvin Gaye,
Selector Dub Narcotic,
Slick Rick,
Bush Tetras,
Prince Buster,
Junior Murvin,
Pet Shop Boys,
the Fania All-Stars,
Q and Not U,
Aural Exciters,
DeepChord presents Echospace,
Lyres,
Nick Fraelich,
H. Thieme,
Liaisons Dangereuses,
Adolescents,
Harmonia,
Depeche Mode,
Scrapy,
Accadde A,
LL Cool J,
Teenage Jesus and the Jerks,
Make Up,
The Detroit Cobras,
The Evens,
Grandmaster Flash and the Furious Five,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.