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 Korea South and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Houston 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 synthesizer 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 Model 500 to the electroclash kids.
I played it at the Hacienda.
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 Radiohead. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Neil Young 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Massinfluence,
Gang Green,
Peter and Kerry,
Ralphi Rosario,
Sam Rivers,
Qualms,
Minutemen,
Motorama,
Crime,
Orchestral Manoeuvres in the Dark,
The Five Americans,
The Fuzztones,
The Tremeloes,
H. Thieme,
Porter Ricks,
Brass Construction,
Grey Daturas,
Dead Boys,
The Shadows of Knight,
Public Image Ltd.,
Ronnie Foster,
James Chance & The Contortions,
Scratch Acid,
Pet Shop Boys,
EPMD,
kango's stein massive,
Bluetip,
Basic Channel,
Major Organ And The Adding Machine,
Tom Boy,
Urselle,
Swell Maps,
Camouflage,
Talk Talk,
Chris & Cosey,
Hot Snakes,
The Buckinghams,
Royal Trux,
Soulsonic Force,
The Mighty Diamonds,
The Index,
Yazoo,
Bauhaus,
Barrington Levy,
JFA,
Sex Pistols,
Con Funk Shun,
Tears for Fears,
Television,
Josef K,
Franke,
Kayak,
Ohio Players,
Arthur Verocai,
Theoretical Girls,
Man Parrish,
Kauko Röyhkä ja Narttu,
Rufus Thomas,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.