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 Vietnam and from Calgary.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 Cluster to the funk kids.
I played it at the Hacienda.
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 Harpers Bizarre. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Jacob Miller,
Gang Starr,
Los Fastidios,
Harmonia,
Public Enemy,
Kaleidoscope,
The Move,
These Immortal Souls,
Arthur Verocai,
The Modern Lovers,
Amazonics,
Television,
The Mighty Diamonds,
London Community Gospel Choir,
The Slits,
Joe Smooth,
The Tremeloes,
Pulsallama,
Flamin' Groovies,
James Chance & The Contortions,
Rosa Yemen,
Bauhaus,
Essential Logic,
Scratch Acid,
Larry & the Blue Notes,
U.S. Maple,
Jeru the Damaja,
Intrusion,
The United States of America,
Rites of Spring,
Sly & The Family Stone,
Moebius,
X-101,
Lee Hazlewood,
Kerrie Biddell,
Andrew Hill,
Don Cherry,
Bobbi Humphrey,
Echo & the Bunnymen,
Maleditus Sound,
L. Decosne,
Sun Ra,
Roger Hodgson,
John Foxx,
The Jesus and Mary Chain,
Terrestrial Tones,
The Royal Family And The Poor,
Q and Not U,
The Buckinghams,
Black Flag,
Grey Daturas,
Nils Olav,
Toni Rubio,
Newcleus,
Japan,
the Fania All-Stars,
Matthew Bourne,
Brass Construction,
The Shadows of Knight,
Deepchord,
PIL,
Gang Gang Dance,
Bill Near, Bill Near, Bill Near, Bill Near.
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.