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 France and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
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 snare 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 Moleskins to the rap kids.
I played it at the Troubador.
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 Stockholm Monsters. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
the Sonics,
Girls At Our Best!,
Jesper Dahlbäck,
The Martian,
Sister Nancy,
Moebius,
Bang on a Can All-Stars,
Stockholm Monsters,
Vainqueur,
Funky Four + One,
La Düsseldorf,
Terrestrial Tones,
The Doobie Brothers,
The Modern Lovers,
DeepChord presents Echospace,
Barbara Tucker,
Brand Nubian,
Matthew Bourne,
Qualms,
Masters at Work,
Sonic Youth,
T. Rex,
Scratch Acid,
Lou Christie,
Michelle Simonal,
Lalo Schifrin,
The Monks,
Roxy Music,
The Residents,
Boz Scaggs,
Tropical Tobacco,
Lucky Dragons,
Accadde A,
Avey Tare's Slasher Flicks,
Eddi Front,
Eli Mardock,
Tomorrow,
Sight & Sound,
Wally Richardson,
Aural Exciters,
John Cale,
The Names,
Scan 7,
Laurel Aitken,
Eric Copeland,
Schoolly D,
L. Decosne,
Oblivians,
Oppenheimer Analysis,
Panda Bear,
Joe Finger,
Agent Orange,
the Slits,
Big Daddy Kane,
Faraquet,
Lonnie Liston Smith,
Kaleidoscope,
Erasure,
Mandrill,
The Gap Band,
Stiv Bators,
The Golliwogs,
Spandau Ballet,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.