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 China and from Johannesburg.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Calgary 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Human League to the rock 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 Alison Limerick. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal disco 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Warsaw,
Connie Case,
Joensuu 1685,
Ituana,
The Sisters of Mercy,
Brass Construction,
Blancmange,
The Slackers,
Joyce Sims,
Liliput,
Reuben Wilson,
The Men They Couldn't Hang,
John Holt,
Ken Boothe,
Prince Buster,
Drexciya,
Davy DMX,
a-ha,
Mo-Dettes,
Glenn Branca,
Al Stewart,
E-Dancer,
Ultimate Spinach,
Beasts of Bourbon,
Public Image Ltd.,
Justin Hinds & The Dominoes,
The Count Five,
The Associates,
Rufus Thomas,
Delon & Dalcan,
Desert Stars,
Matthew Halsall,
Maleditus Sound,
Rhythim Is Rhythim,
Rosa Yemen,
Das Ding,
Index,
Thee Headcoats,
New York Dolls,
Sunsets and Hearts,
Mission of Burma,
Main Source,
The Fall,
Michelle Simonal,
The Martian,
Pulsallama,
Monolake,
Crispy Ambulance,
Skaos,
Drive Like Jehu,
Terrestrial Tones,
Jerry Gold Smith,
Kurtis Blow,
the Germs,
The Motions,
Gil Scott-Heron and Jamie xx,
Gang of Four,
Kas Product,
Notorious BIG live in Amsterdam,
Loose Ends,
Tim Buckley,
Barry Ungar,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.