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 Namibia and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Delhi 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 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 Crispian St. Peters to the jazz 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 Boredoms. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro 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 Mighty Diamonds,
Alphaville,
Avey Tare & Kría Brekkan,
Franke,
Dr. Dre and Snoop Doggy Dog,
Quantec,
In Retrospect,
Gil Scott Heron,
Aural Exciters,
Toni Rubio,
Joe Smooth,
Smog,
Bootsy Collins,
Pulsallama,
Lou Reed & Metallica,
The Sonics,
Radio Birdman,
Ponytail,
Juan Atkins,
Brand Nubian,
Fad Gadget,
Ronnie Foster,
Popol Vuh,
Spoonie Gee,
Aaron Thompson,
The Modern Lovers,
Sunsets and Hearts,
The Fugs,
Bang On A Can,
Ohio Players,
Audionom,
Ornette Coleman,
Kerri Chandler,
Jawbox,
Pantytec,
Zero Boys,
The Flesh Eaters,
Eric B and Rakim,
The Alarm Clocks,
Make Up,
Swans,
Sixth Finger,
kango's stein massive,
Man Eating Sloth,
The Music Machine,
Blossom Toes,
Marcia Griffiths,
Jesper Dahlbäck,
Quadrant,
the Fania All-Stars,
A Certain Ratio,
Magazine,
The Gun Club,
David Bowie,
Nas,
Orchestral Manoeuvres in the Dark,
The Gories,
The Standells,
Crispian St. Peters,
Johnny Osbourne,
Second Layer,
the Slits,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.