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 Eritrea and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 The Jesus and Mary Chain to the dance kids.
I played it at Cafe Wha.
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 Young Marble Giants. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
MDC,
Surgeon,
Tubeway Army,
Liaisons Dangereuses,
Terry Callier,
a-ha,
The Music Machine,
Magazine,
Kool G Rap & DJ Polo,
Sarah Menescal,
Jacob Miller,
Marcia Griffiths,
Ossler,
Desert Stars,
X-102,
Andrew Hill,
Fatback Band,
H. Thieme,
The Fugs,
Ultra Naté,
Country Teasers,
Soft Machine,
Mary Jane Girls,
Todd Rundgren,
Davy DMX,
MC5,
Pagans,
Gang Gang Dance,
London Community Gospel Choir,
the Bar-Kays,
The Birthday Party,
FM Einheit,
The Dave Clark Five,
Jesper Dahlbäck,
Avey Tare & Kría Brekkan,
Big Daddy Kane,
Bill Wells,
Moss Icon,
Gerry Rafferty,
Whodini,
The Red Krayola,
Von Mondo,
The Pop Group,
Mo-Dettes,
Major Organ And The Adding Machine,
Zapp,
Joe Smooth,
The Fire Engines,
Scratch Acid,
Nico,
Tommy Roe,
Flamin' Groovies,
Agent Orange,
Vladislav Delay,
Khruangbin,
Junior Murvin,
Subhumans,
Amon Düül,
Tropical Tobacco,
Wasted Youth,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.