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 Netherlands and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Spokane 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 Nile Rodgers 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 Angry Samoans to the rock kids.
I played it at CBGB's.
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 X-Ray Spex. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Sällskapet 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Offenders,
Rowland S Howard / Lydia Lunch,
Donald Byrd,
Juan Atkins,
Saccharine Trust,
The Techniques,
Avey Tare's Slasher Flicks,
Barbara Tucker,
Arthur Verocai,
Sight & Sound,
Oppenheimer Analysis,
Vaughan Mason & Crew,
Wally Richardson,
Roy Ayers,
The Modern Lovers,
Throbbing Gristle,
Masters at Work,
Art Ensemble Of Chicago,
The Black Dice,
Minutemen,
Lebanon Hanover,
Cheater Slicks,
Wasted Youth,
Dark Day,
Fugazi,
Quando Quango,
The Mighty Diamonds,
The Sisters of Mercy,
The Fire Engines,
Black Bananas,
Echospace,
Crime,
Siouxsie and the Banshees,
Sonny Sharrock,
Moby Grape,
The Cowsills,
Sällskapet,
The Happenings,
The Young Rascals,
Bobbi Humphrey,
N.O.R.E. Featuring Pharrell,
Rhythm & Sound,
Kool G Rap & DJ Polo,
James Chance & The Contortions,
Morten Harket,
Roy Ayers Ubiquity,
Section 25,
Jeru the Damaja,
Todd Terry,
Bobby Womack,
Louis and Bebe Barron,
The United States of America,
Godley & Creme,
Rekid,
Supertramp,
June Days,
Procol Harum,
Nils Olav,
Underground Resistance,
Bob Dylan,
The Cramps,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.