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 India and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Evens to the electroclash kids.
I played it at the 40 Watt.
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 Spandau Ballet. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Brick,
Lebanon Hanover,
B.T. Express,
The Black Dice,
James White and The Blacks,
the Germs,
Nirvana,
Be Bop Deluxe,
Gabor Szabo,
Slave,
Gastr Del Sol,
Davy DMX,
Wings,
Magazine,
The Pop Group,
Gang Green,
Jeff Mills,
The Modern Lovers,
Schoolly D,
Suburban Knight,
June of 44,
Pagans,
The Cure,
Nico,
Procol Harum,
Animal Collective,
the Swans,
Soft Cell,
Rod Modell,
Heaven 17,
Sun Ra Arkestra,
Derrick May,
Matthew Halsall,
Spandau Ballet,
Sight & Sound,
The Music Machine,
Jacques Brel,
Janne Schatter,
Harry Pussy,
The Smiths,
Basic Channel,
Morten Harket,
Bobby Sherman,
Grandmaster Flash and the Furious Five,
Flamin' Groovies,
Curtis Mayfield,
The Index,
The New Christs,
The Raincoats,
Eden Ahbez,
The Names,
Unwound,
Iggy Pop,
Gong,
Tubeway Army,
Wally Richardson,
Crime,
Motorama,
Siouxsie and the Banshees,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.