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 North and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 The Fire Engines to the dance kids.
I played it at CBGB's.
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 John Foxx. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Jeff Lynne,
the Slits,
Cameo,
The Blues Magoos,
Rowland S Howard / Lydia Lunch,
Camberwell Now,
Bobby Sherman,
The Martian,
Mr. Review,
The Smiths,
Leonard Cohen,
Tropical Tobacco,
Rhythm & Sound,
Neu!,
Bang On A Can,
Arcadia,
Gary Puckett & The Union Gap,
Graham Central Station,
Bob Dylan,
Danielle Patucci,
Wire,
Kurtis Blow,
Godley & Creme,
Barrington Levy,
Scan 7,
Echo & the Bunnymen,
The Toasters,
Gang of Four,
Ultravox,
Neil Young & Crazy Horse,
Schoolly D,
Lou Reed,
Mark Hollis,
Jesper Dahlbäck,
Lou Reed & John Cale,
The Golliwogs,
Gastr Del Sol,
Sarah Menescal,
The Cramps,
Hot Snakes,
Chris & Cosey,
The Shadows of Knight,
Sight & Sound,
Lucky Dragons,
The Busters,
Art Ensemble Of Chicago,
Boz Scaggs,
Parry Music,
Barry Ungar,
Das Ding,
Bronski Beat,
Deakin,
New Order,
The Litter,
The Pop Group,
Surgeon,
Blake Baxter,
China Crisis,
Cabaret Voltaire,
Hoover, Hoover, Hoover, Hoover.
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.