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 New Zealand 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 1961 to 1970.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Halifax 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 One Last Wish 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 Soul Sonic Force. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Grauzone 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Japan,
Alison Limerick,
Pierre Henry,
Soft Cell,
CMW,
Justin Hinds & The Dominoes,
Steve Hackett,
Mo-Dettes,
Davy DMX,
These Immortal Souls,
Derrick Morgan,
Adolescents,
Lou Christie,
The Fortunes,
Nation of Ulysses,
Bad Manners,
Ludus,
Cybotron,
Henry Cow,
The United States of America,
The Victims,
Saccharine Trust,
Boredoms,
Lower 48,
The Skatalites,
Suicide,
Gil Scott Heron,
Malaria!,
The Chocolate Watch Band,
Quadrant,
Soft Machine,
Ice-T,
The Sisters of Mercy,
Angels of Light & Akron/Family,
Camberwell Now,
Beasts of Bourbon,
Make Up,
Main Source,
Blake Baxter,
The Cowsills,
Warren Ellis,
Minnie Riperton,
Chrome,
Gregory Isaacs,
Loose Ends,
Lee Hazlewood,
E-Dancer,
Index,
Joensuu 1685,
China Crisis,
The Dirtbombs,
The Gun Club,
Basic Channel,
The Toasters,
Andrew Ashong & Theo Parrish,
Von Mondo,
Frankie Knuckles,
Lou Reed & Metallica,
Magazine,
the Sonics,
Patti Smith,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.