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 Israel and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Lille 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 Alton Ellis to the dance 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Wasted Youth 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Guru Guru,
Sexual Harrassment,
Frankie Knuckles,
In Retrospect,
Fort Wilson Riot,
Crispy Ambulance,
The Men They Couldn't Hang,
Kenny Larkin,
Supertramp,
Pulsallama,
Lee Hazlewood,
Aswad,
The Barracudas,
Bobbi Humphrey,
Wings,
Clear Light,
the Germs,
Television,
Red Lorry Yellow Lorry,
Hot Snakes,
Ultimate Spinach,
EPMD,
Althea and Donna,
Warsaw,
June of 44,
The Star Department,
Ossler,
Eric Copeland,
Mandrill,
Aloha Tigers,
The Smiths,
The Move,
Peter & Gordon,
Lyres,
John Cale,
The Kinks,
Susan Cadogan,
The Shadows of Knight,
Sugar Minott,
Pet Shop Boys,
Anakelly,
Dark Day,
Unwound,
Los Fastidios,
Judy Mowatt,
Animal Collective,
Circle Jerks,
Neil Young & Crazy Horse,
Major Organ And The Adding Machine,
The Vogues,
Carl Craig,
D'Angelo,
Eli Mardock,
Amon Düül,
Donald Byrd,
Faust,
Danielle Patucci,
Ultravox,
John Holt,
Buzzcocks,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.