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 Mauritius and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1973.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school London 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 synthesizer 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 The Gap Band to the techno kids.
I played it at the Hacienda.
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 Dave Gahan. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Banda Bassotti 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 '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Style,
Boz Scaggs,
Soulsonic Force,
Wasted Youth,
Easy Going,
John Foxx,
The Jesus and Mary Chain,
Tropical Tobacco,
Chris & Cosey,
Malaria!,
H. Thieme,
Public Image Ltd.,
Circle Jerks,
The Move,
JFA,
Angels of Light & Akron/Family,
Lower 48,
Rowland S Howard / Lydia Lunch,
Sam Rivers,
Gabor Szabo,
Zapp,
10cc,
June of 44,
Barry Ungar,
Lizzy Mercier Descloux,
Harmonia,
Thompson Twins,
Interpol,
The Doobie Brothers,
Roy Ayers Ubiquity,
Drive Like Jehu,
U.S. Maple,
Lou Christie,
Cheater Slicks,
Barclay James Harvest,
Desert Stars,
Deakin,
Hardrive,
The Fire Engines,
The Golliwogs,
Motorama,
FM Einheit,
Liliput,
Tom Boy,
Jacques Brel,
The West Coast Pop Art Experimental Band,
The Sisters of Mercy,
Orchestral Manoeuvres in the Dark,
cv313,
The Five Americans,
Television Personalities,
Delon & Dalcan,
The Music Machine,
The Smiths,
Minny Pops,
Make Up,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.