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 Congo and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Winnipeg.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Monolake to the rock 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 The Litter. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
ABC,
Saccharine Trust,
Urselle,
X-102,
The Techniques,
Johnny Osbourne,
Godley & Creme,
K-Klass,
Tommy Roe,
The Motions,
Quantec,
Yusef Lateef,
Nas,
Laurel Aitken,
Ossler,
The Black Dice,
Jerry's Kids,
Prince Buster,
U.S. Maple,
Funkadelic,
EPMD,
Outsiders,
Fela Kuti,
The Gladiators,
Fatback Band,
Ornette Coleman,
Ohio Players,
B.T. Express,
Nico,
Theoretical Girls,
the Sonics,
Franke,
The Neon Judgement,
Chris & Cosey,
Radiopuhelimet,
Kerrie Biddell,
Fear,
Byron Stingily,
Minutemen,
Desert Stars,
Curtis Mayfield,
The Associates,
Pulsallama,
Tropical Tobacco,
Andrew Hill,
Glenn Branca,
Pierre Henry,
Severed Heads,
The Blackbyrds,
Schoolly D,
The Dave Clark Five,
Thee Headcoats,
Nick Cave & The Bad Seeds,
The Pretty Things,
The Busters,
Judy Mowatt,
Wolf Eyes,
Fifty Foot Hose,
Big Daddy Kane,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.