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 Palau and from Glasgow.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Mantronix 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 Colin Newman. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
LL Cool J,
Grauzone,
David McCallum,
Agent Orange,
Camron Feat. Memphis Bleek And Beenie Seigel,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
X-102,
Sonic Youth,
Tropical Tobacco,
The Stooges,
Frankie Knuckles,
John Cale,
Tres Demented,
Liliput,
Eurythmics,
Joe Finger,
Marc Almond,
Youth Brigade,
Half Japanese,
The Searchers,
The Electric Prunes,
Pharoah Sanders,
Yellowson,
Beasts of Bourbon,
Kaleidoscope,
Boogie Down Productions,
Aswad,
Sly & The Family Stone,
Bizarre Inc.,
Magazine,
The Pop Group,
Skriet,
Ten City,
Tomorrow,
The Fall,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Masters at Work,
The Fuzztones,
The Skatalites,
Hasil Adkins,
Jesper Dahlback,
Eyeless In Gaza,
Los Fastidios,
Red Lorry Yellow Lorry,
Kevin Saunderson,
Cecil Taylor,
Altered Images,
Duran Duran,
Goldenarms,
Kool Moe Dee,
Jeru the Damaja,
The Saints,
the Normal,
Faraquet,
The Smiths,
Gil Scott Heron,
Procol Harum,
John Holt,
R.M.O.,
Mr. Review,
F. McDonald,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.