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 Bosnia Herzegovina and from Seoul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 The Seeds to the techno 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 Desert Stars. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Sparks,
Dr. Dre and Snoop Doggy Dog,
Selector Dub Narcotic,
Soul Sonic Force,
Stetsasonic,
Tomorrow,
Flipper,
The Electric Prunes,
Strawberry Alarm Clock,
Terrestrial Tones,
Albert Ayler,
Piero Umiliani,
The Skatalites,
Kevin Saunderson,
These Immortal Souls,
Sugar Minott,
Peter Gordon & Love of Life Orchestra,
the Slits,
Whodini,
Maurizio,
Desert Stars,
Junior Murvin,
Anakelly,
the Soft Cell,
Wasted Youth,
Barrington Levy,
Joey Negro,
48th St. Collective,
Pete Rock & C.L. Smooth,
Sam Rivers,
The Count Five,
Ultra Naté,
Adolescents,
Pet Shop Boys,
The Peanut Butter Conspiracy,
New Age Steppers,
Rotary Connection,
Donny Hathaway,
China Crisis,
Ralphi Rosario,
LL Cool J,
The Trojans,
Terry Callier,
The Misunderstood,
Little Man,
Sällskapet,
Minny Pops,
James Chance & The Contortions,
The Mojo Men,
Super Lover Cee & Casanova Rud,
ABC,
Alice Coltrane,
Bobby Hutcherson,
Aswad,
Aural Exciters,
One Last Wish,
The Five Americans,
The Residents,
The Vogues,
Metal Thangz,
Chrome, Chrome, Chrome, Chrome.
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.