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 Madagascar and from London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar 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 Depeche Mode to the grime 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 Ultravox. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Young Marble Giants,
Suburban Knight,
The Slackers,
Supertramp,
Marcia Griffiths,
London Community Gospel Choir,
Lou Reed & John Cale,
Nirvana,
Half Japanese,
The Blues Magoos,
Radiopuhelimet,
Grey Daturas,
The Divine Comedy,
Pantytec,
The Smiths,
Pulsallama,
Pet Shop Boys,
Scratch Acid,
H. Thieme,
Lonnie Liston Smith,
Little Man,
Urselle,
Pete Rock & C.L. Smooth,
The Sonics,
The Mighty Diamonds,
Goldenarms,
Simply Red,
The Flesh Eaters,
Wolf Eyes,
Grauzone,
B.T. Express,
The Music Machine,
U.S. Maple,
The Slits,
Sonny Sharrock,
Beasts of Bourbon,
Glenn Branca,
Lungfish,
Cymande,
Circle Jerks,
Funkadelic,
Robert Hood,
Toni Rubio,
Kool G Rap & DJ Polo,
Neu!,
The Fugs,
Strawberry Alarm Clock,
Mission of Burma,
Lee Hazlewood,
Kaleidoscope,
Stockholm Monsters,
FM Einheit,
Absolute Body Control,
Kas Product,
Eurythmics,
the Normal,
Erasure,
Underground Resistance,
John Foxx,
Soft Machine,
Easy Going, Easy Going, Easy Going, Easy Going.
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.