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 Antigua and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Lagos 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 theremin 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 Schoolly D to the electroclash kids.
I played it at the Troubador.
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 Marshall Jefferson. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Henry Cow 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 '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Gun Club,
Roy Ayers Ubiquity,
Lyres,
These Immortal Souls,
Matthew Halsall,
Supertramp,
The Doors,
Schoolly D,
Ice-T,
Jandek,
Gang Gang Dance,
The Gladiators,
Swans,
Jerry's Kids,
Oppenheimer Analysis,
Depeche Mode,
Subhumans,
DJ Sneak,
Terrestrial Tones,
Gastr Del Sol,
Essential Logic,
Kayak,
Adolescents,
Carl Craig,
Angels of Light & Akron/Family,
Jeff Lynne,
China Crisis,
Sixth Finger,
Icehouse,
The Angels of Light,
Japan,
Tommy Roe,
Eyeless In Gaza,
Porter Ricks,
Severed Heads,
Crispy Ambulance,
Marcia Griffiths,
Funky Four + One,
Pierre Henry,
Lindisfarne,
Barry Ungar,
Gang Green,
X-102,
Tom Boy,
Bang on a Can All-Stars,
Albert Ayler,
Fluxion,
Saccharine Trust,
The Kinks,
a-ha,
Bobbi Humphrey,
Robert Görl,
Bizarre Inc.,
Nirvana,
Todd Rundgren,
Joyce Sims,
Graham Central Station,
Fat Boys,
Grandmaster Flash and the Furious Five,
The Move,
Grandmaster Flash,
MC5,
The Slits, The Slits, The Slits, The Slits.
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.