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 Niger and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1962 to 1978.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Seoul 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 sitar 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 Andrew Ashong & Theo Parrish to the rock kids.
I played it at the Crocodile.
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 Janne Schatter. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
The Dave Clark Five,
Vainqueur,
Matthew Halsall,
Marc Romboy vs. Booka Shade,
The Wake,
R.M.O.,
Gian Franco Pienzio,
a-ha,
Angels of Light & Akron/Family,
Animal Collective,
It's A Beautiful Day,
Public Image Ltd.,
Slick Rick,
Mark Hollis,
Scratch Acid,
Dead Boys,
Davy DMX,
The Doors,
The Smiths,
U.S. Maple,
London Community Gospel Choir,
Siouxsie and the Banshees,
La Düsseldorf,
E-Dancer,
The Grass Roots,
Excepter,
Al Stewart,
Lindisfarne,
Brand Nubian,
The Tremeloes,
The Index,
Sunsets and Hearts,
Gregory Isaacs,
The Mojo Men,
Gil Scott-Heron and Jamie xx,
Underground Resistance,
Q65,
Be Bop Deluxe,
Selector Dub Narcotic,
Pagans,
Justin Hinds & The Dominoes,
Accadde A,
Mo-Dettes,
Skaos,
Peter Gordon & Love of Life Orchestra,
Rosa Yemen,
Severed Heads,
Stereo Dub,
Gary Puckett & The Union Gap,
Fifty Foot Hose,
Ohio Players,
Minny Pops,
Ten City,
Scott Walker + Sunn O))),
The Selecter,
Bill Wells,
The United States of America,
A Flock of Seagulls,
Pussy Galore,
The Toasters, The Toasters, The Toasters, The Toasters.
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.