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 Chad and from Accra.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Camberwell Now to the electroclash kids.
I played it at the Crocodile.
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 The Remains. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Flash Fearless,
Kool G Rap & DJ Polo,
Tropical Tobacco,
Soulsonic Force,
Television Personalities,
Nils Olav,
Robert Wyatt,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Eyeless In Gaza,
Ohio Players,
Black Pus,
Idris Muhammad,
The Move,
Girls At Our Best!,
Lonnie Liston Smith,
The Jesus and Mary Chain,
The Count Five,
Malaria!,
The Doobie Brothers,
Rotary Connection,
The Birthday Party,
New York Dolls,
Guru Guru,
The Gap Band,
Sun Ra Arkestra,
CMW,
Crash Course in Science,
Ice-T,
Y Pants,
Cal Tjader,
Infiniti,
Newcleus,
The Tremeloes,
DJ Style,
John Foxx,
Unrelated Segments,
The Trojans,
The Gladiators,
Lucky Dragons,
Sandy B,
One Last Wish,
The Dirtbombs,
The Mummies,
Talk Talk,
Isaac Hayes,
Jacob Miller,
Lyres,
Andrew Hill,
10cc,
Aural Exciters,
The Toasters,
Soul II Soul,
Gang Starr,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chris & Cosey,
Tom Boy,
The Saints,
Nick Cave & The Bad Seeds,
the Association,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.