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 Brazil and from Paris.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 U.S. Maple to the rap 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 John Coltrane. All the underground hits.
All Franke tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Supertramp,
Cluster,
Urselle,
Audionom,
Japan,
Throbbing Gristle,
Dual Sessions,
The Stooges,
Juan Atkins,
The Mojo Men,
The Fall,
Shuggie Otis,
Bang On A Can,
Schoolly D,
Crispian St. Peters,
Robert Görl,
Yaz,
Saccharine Trust,
Lakeside,
The Real Kids,
Cal Tjader,
The Trojans,
Archie Shepp,
Faust,
In Retrospect,
PIL,
The Saints,
These Immortal Souls,
World's Most,
Gil Scott-Heron and Jamie xx,
Blancmange,
Mo-Dettes,
The Moleskins,
Davy DMX,
Marshall Jefferson,
UT,
Avey Tare & Kría Brekkan,
Sight & Sound,
H. Thieme,
The Men They Couldn't Hang,
Letta Mbulu,
Neu!,
The J.B.'s,
The Barracudas,
Faraquet,
Zero Boys,
The Grass Roots,
Ossler,
Fifty Foot Hose,
Angry Samoans,
Hoover,
Skaos,
Richard Hell and the Voidoids,
John Foxx,
Sad Lovers and Giants,
Adolescents,
Visage,
Steve Hackett,
Andrew Ashong & Theo Parrish,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.