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 Oman and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Can to the punk kids.
I played it at the Astoria.
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 D'Angelo. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick 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?
Soul II Soul,
Ten City,
Gang Starr,
The Dead C,
Selector Dub Narcotic,
John Holt,
Matthew Bourne,
The Fire Engines,
X-Ray Spex,
Drive Like Jehu,
The Gun Club,
Glenn Branca,
Masters at Work,
Camron Feat. Memphis Bleek And Beenie Seigel,
Juan Atkins,
Sex Pistols,
The Remains,
June Days,
Negative Approach,
Grey Daturas,
Gabor Szabo,
Amon Düül,
Eli Mardock,
Main Source,
Crash Course in Science,
Khruangbin,
The Slits,
JFA,
The Barracudas,
Oneida,
Tres Demented,
Neil Young & Crazy Horse,
Ice-T,
Red Lorry Yellow Lorry,
Andrew Ashong & Theo Parrish,
The Chocolate Watch Band,
Tim Buckley,
the Slits,
Kenny Larkin,
Colin Newman,
Sugar Minott,
Bauhaus,
Oblivians,
Kayak,
Alphaville,
Arthur Verocai,
Royal Trux,
Pantytec,
E-Dancer,
The Buckinghams,
The Mojo Men,
The Fall,
Duran Duran,
The Walker Brothers,
Lyres,
the Germs,
Arab on Radar,
The Young Rascals,
Wighnomy Brothers & Robag Wruhme,
Oppenheimer Analysis,
Marvin Gaye,
Section 25,
The Cramps,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.