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 Uruguay and from Paris.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Lille 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 The Pretty Things to the techno 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 Jesus and Mary Chain. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Lightning Bolt,
The Men They Couldn't Hang,
B.T. Express,
Lalann,
Stockholm Monsters,
The Cowsills,
Drexciya,
Moebius,
Thee Headcoats,
The Doors,
The Peanut Butter Conspiracy,
Echo & the Bunnymen,
Jesper Dahlbäck,
Easy Going,
Kas Product,
Quantec,
World's Most,
Public Enemy,
DNA,
Rosa Yemen,
Parry Music,
Quando Quango,
The Buckinghams,
Fad Gadget,
Fort Wilson Riot,
June Days,
Little Man,
The Invisible,
T. Rex,
Organ,
Connie Case,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Interpol,
Ronan,
The Motions,
Adolescents,
Gastr Del Sol,
Leonard Cohen,
Shuggie Otis,
U.S. Maple,
The Busters,
Second Layer,
Marine Girls,
Red Lorry Yellow Lorry,
Youth Brigade,
Main Source,
Kauko Röyhkä ja Narttu,
Anthony Braxton,
Harpers Bizarre,
The Fugs,
Gong,
The Toasters,
One Last Wish,
Lakeside,
The Trojans,
Reuben Wilson,
Marc Almond,
Vaughan Mason & Crew,
Ossler,
Scion, Scion, Scion, Scion.
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.