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 Syria and from Hong Kong.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Bologna 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 808 sounds with much patience.
I was there when Holger Czukay 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 Ornette Coleman to the jazz kids.
I played it at the Astoria.
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 Smog. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Index,
Lalann,
Depeche Mode,
Hot Snakes,
Massinfluence,
The Monks,
Lebanon Hanover,
Bang on a Can All-Stars,
The Dirtbombs,
Delta 5,
Thompson Twins,
Marcia Griffiths,
These Immortal Souls,
Aloha Tigers,
Niagra,
The Velvet Underground,
Ultramagnetic MC's,
Max Romeo,
Brass Construction,
Ituana,
Kauko Röyhkä ja Narttu,
Bobbi Humphrey,
Boogie Down Productions,
The Beau Brummels,
Byron Stingily,
The Offenders,
Talk Talk,
Joensuu 1685,
Glenn Branca,
Bang On A Can,
Flamin' Groovies,
Black Moon,
Amon Düül II,
Don Cherry,
Groovy Waters,
L. Decosne,
Silicon Teens,
Panda Bear,
Underground Resistance,
Man Parrish,
Drexciya,
Ultra Naté,
Thinking Fellers Union Local 282,
Sällskapet,
David Axelrod,
Pussy Galore,
Scratch Acid,
Japan,
Red Lorry Yellow Lorry,
The American Breed,
Saccharine Trust,
Fear,
the Sonics,
Pete Rock & C.L. Smooth,
AZ,
The Five Americans,
Faraquet,
Los Fastidios,
Section 25,
Gichy Dan,
Clear Light,
the Soft Cell,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.