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 Cameroon and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and London.
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 arpeggiator 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 CMW to the rap kids.
I played it at CBGB's.
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 Soft Machine. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Joensuu 1685,
Hasil Adkins,
the Germs,
Bootsy's Rubber Band,
In Retrospect,
Tim Buckley,
Maleditus Sound,
Flamin' Groovies,
Interpol,
Section 25,
Fort Wilson Riot,
Sun Ra,
The Mojo Men,
Boredoms,
The Motions,
Urselle,
Schoolly D,
Robert Hood,
the Bar-Kays,
The Offenders,
Thompson Twins,
Eli Mardock,
The Monks,
The Monochrome Set,
Organ,
Q and Not U,
The Techniques,
Animal Collective,
Spandau Ballet,
Icehouse,
Bootsy Collins,
Ash Ra Tempel,
Gastr Del Sol,
Camouflage,
Cymande,
Bush Tetras,
Country Teasers,
Jeff Mills,
Scientists,
The Selecter,
The Fuzztones,
Arab on Radar,
Dennis Brown,
Pantaleimon,
Roxette,
Don Cherry,
Amon Düül,
Loose Ends,
Notorious BIG live in Amsterdam,
Red Lorry Yellow Lorry,
Vaughan Mason & Crew,
DJ Style,
Banda Bassotti,
Alison Limerick,
Dave Gahan,
La Düsseldorf,
The Last Poets,
Malaria!,
Major Organ And The Adding Machine,
Siouxsie and the Banshees,
Lyres, Lyres, Lyres, Lyres.
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.