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 Liberia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Manila 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 Captain Beefheart 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 Gary Puckett & The Union Gap to the techno kids.
I played it at the 40 Watt.
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 Harmonia. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Joe Smooth,
X-102,
Derrick May,
Stetsasonic,
Second Layer,
Sexual Harrassment,
Johnny Osbourne,
Red Lorry Yellow Lorry,
Cameo,
Glambeats Corp.,
Sight & Sound,
Spandau Ballet,
Rhythm & Sound,
10cc,
Drexciya,
A Flock of Seagulls,
The Toasters,
Soulsonic Force,
The Gun Club,
The Divine Comedy,
CMW,
Duran Duran,
Reagan Youth,
Bootsy Collins,
Louis and Bebe Barron,
Radio Birdman,
Main Source,
The Fall,
Kayak,
Deutsch Amerikanische Freundschaft,
Neil Young,
Bronski Beat,
Lightning Bolt,
The Chocolate Watch Band,
Ludus,
Byron Stingily,
Rahsaan Roland Kirk,
Easy Going,
Howard Jones,
New York Dolls,
Erykah Badu,
Dead Boys,
Nirvana,
Whodini,
Bad Manners,
Mark Hollis,
Mary Jane Girls,
Blancmange,
The Remains,
Pulsallama,
Ralphi Rosario,
Wire,
Icehouse,
Joey Negro,
Surgeon,
Au Pairs,
the Bar-Kays,
Television,
David Bowie,
Steve Hackett,
Mars,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.