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 United States and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Madrid 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 Richard Hell and the Voidoids to the disco kids.
I played it at the Troubador.
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 Gang Starr. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Aswad,
Quantec,
Richard Hell and the Voidoids,
The Dirtbombs,
John Lydon,
The Monochrome Set,
Michelle Simonal,
It's A Beautiful Day,
Joensuu 1685,
Adolescents,
The Motions,
The Slackers,
Donald Byrd,
Visage,
Kerri Chandler,
June Days,
Royal Trux,
Scrapy,
The Cosmic Jokers,
The Flesh Eaters,
Echo & the Bunnymen,
Von Mondo,
Can,
Magazine,
Los Fastidios,
Idris Muhammad,
Second Layer,
The Trojans,
Lyres,
Groovy Waters,
The Pop Group,
John Cale,
Sex Pistols,
Blake Baxter,
Fad Gadget,
Brass Construction,
Lakeside,
The Remains,
Neil Young,
Quando Quango,
Stockholm Monsters,
Joe Finger,
Sonic Youth,
Dawn Penn,
Prince Buster,
Saccharine Trust,
The Selecter,
The Wake,
Tears for Fears,
Boogie Down Productions,
Alphaville,
Scientists,
Glambeats Corp.,
Notorious Big And Bone Thugs,
Swans,
Gary Puckett & The Union Gap,
Faraquet,
Masters at Work,
Youth Brigade,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.