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 Cambodia 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 1967 to 1976.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Philadelphia 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 güiro 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 New Age Steppers to the jazz 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 Bronski Beat. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Ajijia Myrayebe,
Porter Ricks,
Max Romeo,
One Last Wish,
Godley & Creme,
Ken Boothe,
U.S. Maple,
Art Ensemble Of Chicago,
cv313,
The Gladiators,
Mars,
Dave Gahan,
The Shadows of Knight,
Cabaret Voltaire,
H. Thieme,
The Raincoats,
Joensuu 1685,
Deutsch Amerikanische Freundschaft,
Jerry's Kids,
Magazine,
The Pop Group,
The Beau Brummels,
Anakelly,
Nik Kershaw,
Main Source,
Black Flag,
The Skatalites,
David McCallum,
John Holt,
Dual Sessions,
Mo-Dettes,
Morten Harket,
E-Dancer,
Maleditus Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Detroit Cobras,
Newcleus,
Dark Day,
The Gories,
Lebanon Hanover,
Archie Shepp,
Electric Light Orchestra,
Quando Quango,
The Zeros,
The Stooges,
MC5,
The Selecter,
Marine Girls,
KRS-One,
In Retrospect,
Deepchord,
Harmonia,
Iggy Pop,
Sparks,
The New Christs,
Lightning Bolt,
Jesper Dahlbäck,
The Pretty Things,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
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.