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 Cape Verde and from Woodstock.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Dave Gahan to the rock kids.
I played it at the Astoria.
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 Pantytec. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Talk Talk 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 '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Camouflage,
PIL,
The Skatalites,
Dark Day,
Bizarre Inc.,
Deakin,
Heaven 17,
Can,
Slave,
Faraquet,
Soft Machine,
The Slackers,
Amazonics,
Public Enemy,
The Mojo Men,
Traffic Nightmare,
Echo & the Bunnymen,
Minny Pops,
Whodini,
U.S. Maple,
Metal Thangz,
Sound Behaviour,
Anthony Braxton,
Tropical Tobacco,
R.M.O.,
Marc Almond,
Minor Threat,
Piero Umiliani,
The Neon Judgement,
John Lydon,
The Evens,
Liliput,
The Peanut Butter Conspiracy,
The Walker Brothers,
The United States of America,
The Dave Clark Five,
Siouxsie and the Banshees,
Depeche Mode,
It's A Beautiful Day,
The Toasters,
Bobbi Humphrey,
Scion,
Quadrant,
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Marc Romboy vs. Booka Shade,
Theoretical Girls,
Major Organ And The Adding Machine,
Crime,
Little Man,
Vaughan Mason & Crew,
Sister Nancy,
James White and The Blacks,
Mark Hollis,
Television,
Tim Buckley,
The Moody Blues,
Y Pants,
Make Up,
Gang Green, Gang Green, Gang Green, Gang Green.
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.