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 Slovenia and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Shanghai 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 marimba 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 Mandrill to the dance kids.
I played it at the Troubador.
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 X-102. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Minny Pops 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 '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
The Kinks,
Donny Hathaway,
Scan 7,
48th St. Collective,
Camouflage,
AZ,
Leonard Cohen,
Hoover,
Rekid,
The Wake,
Stetsasonic,
The Velvet Underground,
The Slackers,
Icehouse,
Bobby Byrd,
Animal Collective,
Neu!,
Susan Cadogan,
Richard Hell and the Voidoids,
R.M.O.,
The Young Rascals,
The Neon Judgement,
Unwound,
The Peanut Butter Conspiracy,
Drive Like Jehu,
The Durutti Column,
The United States of America,
Nik Kershaw,
Essential Logic,
The Blackbyrds,
Banda Bassotti,
Soul II Soul,
Fort Wilson Riot,
Interpol,
Pierre Henry,
X-Ray Spex,
Eli Mardock,
Sällskapet,
Minor Threat,
Tom Boy,
Stereo Dub,
Ornette Coleman,
Derrick Morgan,
MC5,
Wolf Eyes,
Scott Walker + Sunn O))),
Deepchord,
T.S.O.L.,
The Moody Blues,
Kings Of Tomorrow,
The Red Krayola,
Crime,
The Alarm Clocks,
Strawberry Alarm Clock,
Red Lorry Yellow Lorry,
Zapp,
Kenny Larkin,
Max Romeo,
Peter and Kerry,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.