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 Luxembourg and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Bologna 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 guitar 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 L. Decosne to the electroclash kids.
I played it at the Spitz.
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 Lebanon Hanover. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Wake,
Sarah Menescal,
Letta Mbulu,
ABC,
Los Fastidios,
The Electric Prunes,
Stiv Bators,
DNA,
Josef K,
Crooked Eye,
Sly & The Family Stone,
Gastr Del Sol,
June of 44,
Japan,
The Leaves,
Gil Scott-Heron & Brian Jackson,
Dual Sessions,
Wighnomy Brothers & Robag Wruhme,
Cabaret Voltaire,
Terry Callier,
Davy DMX,
Tres Demented,
Liaisons Dangereuses,
Ponytail,
Piero Umiliani,
Sex Pistols,
Sad Lovers and Giants,
Boredoms,
Skaos,
In Retrospect,
Q and Not U,
Cluster,
Tubeway Army,
Outsiders,
The Happenings,
Lonnie Liston Smith,
Sight & Sound,
Nas,
OOIOO,
The Royal Family And The Poor,
Vainqueur,
Grey Daturas,
Hoover,
Suicide,
The Saints,
La Düsseldorf,
Rapeman,
Stereo Dub,
Nick Fraelich,
Thinking Fellers Union Local 282,
Buzzcocks,
Fort Wilson Riot,
Jeff Lynne,
Blancmange,
Godley & Creme,
Soul Sonic Force,
JFA,
Saccharine Trust,
The Invisible,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.