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 Cape Verde and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 One Last Wish to the punk kids.
I played it at the Crocodile.
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 The Offenders. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Surgeon,
Rowland S Howard / Lydia Lunch,
The Count Five,
Subhumans,
Bob Dylan,
Lightning Bolt,
Radio Birdman,
Traffic Nightmare,
Liliput,
The Mojo Men,
Make Up,
The Index,
The Music Machine,
Ultravox,
The Modern Lovers,
FM Einheit,
The Red Krayola,
Lafayette Afro Rock Band,
Ralphi Rosario,
Brothers Johnson,
Robert Wyatt,
The Cowsills,
E-Dancer,
Skaos,
The Gladiators,
Roger Hodgson,
Sex Pistols,
EPMD,
John Foxx,
Dead Boys,
The Moody Blues,
Jeff Mills,
Soft Cell,
Sun Ra,
Echospace,
Adolescents,
Wasted Youth,
Mandrill,
Audionom,
Intrusion,
Interpol,
La Düsseldorf,
The Fire Engines,
X-101,
Sugar Minott,
The Vogues,
Soft Machine,
Lizzy Mercier Descloux,
Marc Almond,
The Cramps,
The Happenings,
Stetsasonic,
Pet Shop Boys,
Zapp,
Crash Course in Science,
The Fortunes,
Lindisfarne,
DeepChord presents Echospace,
Roxy Music,
K-Klass,
Can, Can, Can, Can.
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.