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 Monaco and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 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 Warsaw to the dance kids.
I played it at Cafe Wha.
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 Average White Band. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
The New Christs,
Joensuu 1685,
MC5,
The Cure,
The Knickerbockers,
Eurythmics,
Qualms,
Ken Boothe,
UT,
The Associates,
Todd Rundgren,
Pharoah Sanders,
L. Decosne,
Isaac Hayes,
Fluxion,
The Kinks,
Graham Central Station,
Stiv Bators,
the Normal,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
The Searchers,
Pulsallama,
The Raincoats,
Q and Not U,
Boz Scaggs,
Gang Green,
OOIOO,
Lizzy Mercier Descloux,
Parry Music,
Tom Boy,
Janne Schatter,
Gil Scott-Heron and Jamie xx,
Wighnomy Brothers & Robag Wruhme,
Notorious Big And Bone Thugs,
Altered Images,
The Velvet Underground,
The Selecter,
Chrome,
Vaughan Mason & Crew,
Todd Terry,
Sexual Harrassment,
Wings,
Cheater Slicks,
Sex Pistols,
Unwound,
Monolake,
Bang on a Can All-Stars,
John Coltrane,
Symarip,
The United States of America,
The Motions,
Underground Resistance,
Chris Corsano,
Black Flag,
One Last Wish,
Khruangbin,
Section 25,
Average White Band,
DJ Style,
Oblivians,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.