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 Kenya and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Thompson Twins to the crunk kids.
I played it at the Roxy.
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 Teenage Jesus and the Jerks. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
MC5,
CMW,
The Gories,
Toni Rubio,
Cheater Slicks,
the Germs,
Subhumans,
Susan Cadogan,
Glambeats Corp.,
Masters at Work,
Sad Lovers and Giants,
The Moody Blues,
The Saints,
Roxette,
Cybotron,
Drexciya,
Hoover,
Delta 5,
Roxy Music,
Wasted Youth,
Suburban Knight,
Jimmy McGriff,
Lizzy Mercier Descloux,
Parry Music,
Japan,
Animal Collective,
Donald Byrd,
Talk Talk,
Dual Sessions,
Justin Hinds & The Dominoes,
John Foxx,
Arthur Verocai,
John Cale,
Pantaleimon,
Scratch Acid,
Bush Tetras,
Rakim,
The Alarm Clocks,
Whodini,
Surgeon,
Flipper,
The Kinks,
Eli Mardock,
Popol Vuh,
A Flock of Seagulls,
Fatback Band,
The Associates,
The Fortunes,
Ten City,
Sällskapet,
Aaron Thompson,
Oblivians,
Brass Construction,
The Doors,
Echo & the Bunnymen,
Scan 7,
Johnny Osbourne,
Pharoah Sanders,
The West Coast Pop Art Experimental Band,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.