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 Uzbekistan and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Spokane 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 theremin 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 Offenders to the crunk kids.
I played it at the Astoria.
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 Ultra Naté. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Notorious BIG live in Amsterdam,
The Blues Magoos,
Silicon Teens,
Brick,
De La Soul & Jungle Brothers,
Depeche Mode,
The Gap Band,
Jeru the Damaja,
Blossom Toes,
It's A Beautiful Day,
Joe Finger,
Jerry's Kids,
Ultravox,
KRS-One,
Pussy Galore,
Negative Approach,
Mary Jane Girls,
Oneida,
Rotary Connection,
Panda Bear,
Motorama,
Popol Vuh,
The Jesus and Mary Chain,
Neil Young,
Urselle,
Quantec,
The Cosmic Jokers,
Sonic Youth,
Bronski Beat,
The Gories,
OOIOO,
Flipper,
R.M.O.,
Wire,
Delta 5,
Pole,
The Detroit Cobras,
Red Lorry Yellow Lorry,
Matthew Halsall,
Moebius,
The Slits,
The Cowsills,
The Techniques,
Soft Cell,
Pet Shop Boys,
Dark Day,
Fort Wilson Riot,
Minutemen,
Animal Collective,
Sex Pistols,
The Alarm Clocks,
Lakeside,
Ronnie Foster,
Amazonics,
Lou Reed,
Rufus Thomas,
Monolake,
Avey Tare & Kría Brekkan,
John Holt,
The Happenings,
Mad Mike,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.