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 Uruguay and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Isaac Hayes to the disco kids.
I played it at the Hacienda.
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 Teenage Jesus and the Jerks. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Lonnie Liston Smith,
Mantronix,
Traffic Nightmare,
Donny Hathaway,
T.S.O.L.,
Johnny Osbourne,
Surgeon,
Strawberry Alarm Clock,
Rakim,
Agent Orange,
Half Japanese,
Joey Negro,
Slick Rick,
The Moody Blues,
Black Sheep,
The Monks,
Tears for Fears,
Alphaville,
Massinfluence,
Warren Ellis,
Frankie Knuckles,
Faust,
Bang on a Can All-Stars,
Desert Stars,
Hasil Adkins,
Todd Terry,
Make Up,
Slave,
Avey Tare,
Anakelly,
Saccharine Trust,
Danielle Patucci,
Flamin' Groovies,
Throbbing Gristle,
Gregory Isaacs,
The Human League,
B.T. Express,
The Modern Lovers,
Sonny Sharrock,
Easy Going,
The Fall,
The Move,
Drexciya,
Ultravox,
Simply Red,
Joensuu 1685,
AZ,
Eli Mardock,
June Days,
Bauhaus,
Pantaleimon,
Stockholm Monsters,
Maleditus Sound,
Jeru the Damaja,
Inner City,
Youth Brigade,
Sex Pistols,
The Stooges,
Sound Behaviour,
Barrington Levy,
Jawbox,
D'Angelo,
Metal Thangz,
Ten City, Ten City, Ten City, Ten City.
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.