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 Luxembourg and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Copenhagen 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 808 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 Fela Kuti to the crunk 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 The Detroit Cobras. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every The Remains 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Alphaville,
L. Decosne,
Strawberry Alarm Clock,
Echospace,
The Mojo Men,
The Young Rascals,
A Flock of Seagulls,
The Jesus and Mary Chain,
Bobby Byrd,
The Gun Club,
Ituana,
Echo & the Bunnymen,
Dennis Brown,
Dawn Penn,
Arab on Radar,
Vaughan Mason & Crew,
Kerrie Biddell,
Lower 48,
Marc Romboy vs. Booka Shade,
Television Personalities,
The Motions,
The Gladiators,
Vladislav Delay,
Gang Gang Dance,
John Cale,
Japan,
Infiniti,
Thee Headcoats,
Nick Cave & The Bad Seeds,
Von Mondo,
Gil Scott-Heron & Brian Jackson,
Blancmange,
Howard Jones,
Henry Cow,
Albert Ayler,
Red Lorry Yellow Lorry,
The American Breed,
June of 44,
Jimmy McGriff,
Marine Girls,
New Order,
Piero Umiliani,
Barry Ungar,
The Offenders,
Gang of Four,
Connie Case,
D'Angelo,
Arthur Verocai,
Tim Buckley,
The Zeros,
The Sisters of Mercy,
Scientists,
Carl Craig,
Mr. Review,
Slick Rick,
Fifty Foot Hose,
The Toasters,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Jawbox,
Ultravox, Ultravox, Ultravox, Ultravox.
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.