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 Uganda and from London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Magma to the electroclash kids.
I played it at the Spitz.
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 Swell Maps. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Wighnomy Brothers & Robag Wruhme,
Liliput,
Kas Product,
Eyeless In Gaza,
Gang Gang Dance,
The Standells,
Quantec,
Pantytec,
Sarah Menescal,
Nils Olav,
The Smoke,
The American Breed,
Essential Logic,
Red Lorry Yellow Lorry,
the Association,
The Fire Engines,
Minor Threat,
Connie Case,
Outsiders,
Delon & Dalcan,
Franke,
Davy DMX,
Larry & the Blue Notes,
Manfred Mann's Earth Band,
Bill Near,
The Monochrome Set,
Peter & Gordon,
Kenny Larkin,
Jesper Dahlbäck,
The Cowsills,
Bang On A Can,
The Red Krayola,
Eddi Front,
Unwound,
Unrelated Segments,
Livin' Joy,
Kool G Rap & DJ Polo,
Aloha Tigers,
Arab on Radar,
Anakelly,
The Slackers,
Heaven 17,
Wolf Eyes,
Sugar Minott,
Sandy B,
The Chocolate Watch Band,
Rhythm & Sound,
Curtis Mayfield,
Major Organ And The Adding Machine,
Darondo,
Stetsasonic,
Gang of Four,
Sun Ra,
The Moleskins,
X-102,
Marshall Jefferson,
Public Enemy,
Man Eating Sloth,
Average White Band, Average White Band, Average White Band, Average White 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.