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 Greece and from Lille.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Seoul 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 güiro 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 Gil Scott-Heron and Jamie xx to the dance 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 June Days. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal grunge 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 a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
DNA,
Junior Murvin,
the Human League,
Pierre Henry,
Mark Hollis,
The Sound,
Jeff Mills,
Eli Mardock,
Glambeats Corp.,
Jacques Brel,
Johnny Clarke,
New Age Steppers,
Sight & Sound,
Kings Of Tomorrow,
The Last Poets,
Scan 7,
Pagans,
Black Pus,
Moss Icon,
Wasted Youth,
The Count Five,
Cheater Slicks,
U.S. Maple,
James White and The Blacks,
Los Fastidios,
The Music Machine,
Y Pants,
Pete Rock & C.L. Smooth,
Alphaville,
Accadde A,
The Monochrome Set,
Throbbing Gristle,
This Heat,
Nico,
Delon & Dalcan,
Soft Machine,
Oneida,
Prince Buster,
Ultra Naté,
Reuben Wilson,
The Pretty Things,
Monks,
Massinfluence,
Oppenheimer Analysis,
Country Joe & The Fish,
Soft Cell,
Crispian St. Peters,
Gabor Szabo,
Girls At Our Best!,
X-102,
Marine Girls,
Main Source,
Hoover,
Colin Newman,
Infiniti,
Marc Romboy vs. Booka Shade,
Blancmange,
Hot Snakes,
Heaven 17,
Monolake,
PIL,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.