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 Papua New Guinea and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Shuggie Otis to the grime kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Notorious Big And Bone Thugs,
The Alarm Clocks,
Graham Central Station,
Susan Cadogan,
Quando Quango,
Duran Duran,
Lou Reed,
Ludus,
Bobbi Humphrey,
The Sound,
The Slits,
Whodini,
Bizarre Inc.,
Ossler,
The West Coast Pop Art Experimental Band,
Avey Tare,
Howard Jones,
Mr. Review,
Godley & Creme,
Silicon Teens,
Ajijia Myrayebe,
Ultravox,
Bauhaus,
Eli Mardock,
Los Fastidios,
Danielle Patucci,
the Normal,
This Heat,
The Blackbyrds,
Suburban Knight,
Crash Course in Science,
Talk Talk,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nation of Ulysses,
Eric Dolphy,
Bronski Beat,
Masters at Work,
cv313,
Sad Lovers and Giants,
The Mojo Men,
Heavy D & The Boyz,
Babytalk,
Youth Brigade,
E-Dancer,
Major Organ And The Adding Machine,
Bush Tetras,
Dark Day,
Liliput,
Magma,
Donny Hathaway,
Roxy Music,
Charles Mingus,
The Gladiators,
Alphaville,
Soul Sonic Force,
Zero Boys,
Heaven 17,
The Stooges,
Bang On A Can,
One Last Wish,
The Busters,
The Fall,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.