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 Lesotho and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1977.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 organ sounds with much patience.
I was there when Michael McDonald 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 John Lydon to the rock kids.
I played it at CBGB's.
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 Robert Görl. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Siouxsie and the Banshees,
Soulsonic Force,
Khruangbin,
Johnny Osbourne,
Max Romeo,
Peter and Kerry,
Avey Tare's Slasher Flicks,
Neu!,
Leonard Cohen,
Circle Jerks,
The Barracudas,
Thinking Fellers Union Local 282,
Lou Christie,
These Immortal Souls,
Groovy Waters,
48th St. Collective,
Soft Machine,
The Dead C,
Loose Ends,
The Motions,
Sugar Minott,
Popol Vuh,
Rotary Connection,
Blake Baxter,
The Victims,
Massinfluence,
The Fortunes,
U.S. Maple,
cv313,
Joe Smooth,
The Evens,
Amon Düül,
Graham Central Station,
Gang Gang Dance,
Ornette Coleman,
Todd Terry,
Organ,
Animal Collective,
Symarip,
In Retrospect,
Talk Talk,
The Smoke,
The Standells,
Young Marble Giants,
Blossom Toes,
Monolake,
Black Sheep,
the Normal,
John Lydon,
Marcia Griffiths,
London Community Gospel Choir,
Mandrill,
Bad Manners,
June of 44,
John Cale,
Malaria!,
Interpol,
MDC,
Arthur Verocai,
Eli Mardock,
Heaven 17,
The Stooges,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.