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 Bangladesh and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Portland 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 mellotron 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 Interpol to the crunk 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 The Saints. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Music Machine,
Angry Samoans,
The West Coast Pop Art Experimental Band,
The Jesus and Mary Chain,
The Five Americans,
KRS-One,
Fifty Foot Hose,
Sound Behaviour,
Robert Görl,
Pharoah Sanders,
Gerry Rafferty,
The Tremeloes,
Eurythmics,
Ornette Coleman,
Ken Boothe,
Eden Ahbez,
Skaos,
Magazine,
Siouxsie and the Banshees,
Buzzcocks,
The Vogues,
This Heat,
Rosa Yemen,
Crispy Ambulance,
The Walker Brothers,
The Peanut Butter Conspiracy,
Black Bananas,
New York Dolls,
the Swans,
Lafayette Afro Rock Band,
Archie Shepp,
Andrew Hill,
D'Angelo,
Newcleus,
Drexciya,
Kool G Rap & DJ Polo,
Rod Modell,
Easy Going,
Brick,
Drive Like Jehu,
Radiohead,
In Retrospect,
Pierre Henry,
The Gladiators,
Morten Harket,
Grandmaster Flash and the Furious Five,
Kurtis Blow,
Pagans,
the Normal,
T.S.O.L.,
The United States of America,
Los Fastidios,
Stereo Dub,
Toni Rubio,
Funky Four + One,
Schoolly D,
The Move,
Royal Trux,
Scott Walker + Sunn O))),
Connie Case,
Harmonia,
Ronan,
Avey Tare's Slasher Flicks,
Motorama, Motorama, Motorama, Motorama.
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.