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 Equatorial Guinea and from Tokyo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Manila 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 Nile Rodgers 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 Cabaret Voltaire to the rock 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 Sexual Harrassment. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Little Man 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 '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Blossom Toes,
Youth Brigade,
Niagra,
Althea and Donna,
Section 25,
Gian Franco Pienzio,
Matthew Bourne,
ABC,
The Techniques,
The Seeds,
Fela Kuti,
The Fugs,
Cymande,
Mandrill,
AZ,
Dawn Penn,
Bluetip,
The Black Dice,
Monolake,
Röyhkä ja Rättö ja Lehtisalo,
Gabor Szabo,
Richard Hell and the Voidoids,
Qualms,
R.M.O.,
Little Man,
Mark Hollis,
Alice Coltrane,
Cal Tjader,
The Associates,
Tubeway Army,
Pagans,
The Gun Club,
Ronan,
Terror Squad Feat. Camron,
Pulsallama,
The Standells,
Lebanon Hanover,
cv313,
Model 500,
Zero Boys,
Marvin Gaye,
The Victims,
Peter & Gordon,
Fifty Foot Hose,
Robert Wyatt,
Laurel Aitken,
Carl Craig,
Flipper,
Chris & Cosey,
The Durutti Column,
The Slackers,
Black Bananas,
UT,
Malaria!,
Susan Cadogan,
The Saints,
Oblivians,
Country Joe & The Fish,
Lafayette Afro Rock Band,
Half Japanese,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.