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 Dominican Republic and from New York.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 Fluxion to the grunge kids.
I played it at CBGB's.
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 Mars. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Rod Modell 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Kurtis Blow,
Index,
Sun Ra,
Dark Day,
Swell Maps,
Notorious Big And Bone Thugs,
Girls At Our Best!,
Wings,
The Neon Judgement,
The Stooges,
Crash Course in Science,
Arab on Radar,
Skarface,
Technova,
Tim Buckley,
Alice Coltrane,
Monolake,
Sixth Finger,
Graham Central Station,
X-Ray Spex,
Lower 48,
Oneida,
Althea and Donna,
Hot Snakes,
Harmonia,
Animal Collective,
Lyres,
a-ha,
The Last Poets,
Chris & Cosey,
Crispian St. Peters,
The Peanut Butter Conspiracy,
Mandrill,
Slave,
Whodini,
Ralphi Rosario,
Rahsaan Roland Kirk,
Nas,
Liliput,
Alphaville,
Black Sheep,
Minny Pops,
Jeff Lynne,
Duran Duran,
Cymande,
Young Marble Giants,
Model 500,
Ten City,
ABC,
Soft Machine,
Janne Schatter,
Bill Wells,
Surgeon,
Minutemen,
Larry & the Blue Notes,
Iggy Pop,
Gang Starr,
Lakeside,
Organ,
Marc Almond,
Dawn Penn,
the Swans, the Swans, the Swans, the Swans.
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.