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 Iraq and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Bremen 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 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 The Alarm Clocks to the punk kids.
I played it at the Spitz.
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 Donald Byrd. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Minor Threat,
Steve Hackett,
Curtis Mayfield,
Jeff Lynne,
The Offenders,
Cheater Slicks,
CMW,
Gang of Four,
John Lydon,
Livin' Joy,
Black Bananas,
Lucky Dragons,
The Litter,
U.S. Maple,
Thee Headcoats,
New Age Steppers,
The Martian,
48th St. Collective,
Johnny Clarke,
Lower 48,
Eddi Front,
Robert Hood,
Tomorrow,
Bronski Beat,
Avey Tare's Slasher Flicks,
MDC,
Aaron Thompson,
World's Most,
De La Soul & Jungle Brothers,
Beasts of Bourbon,
Section 25,
Erasure,
Röyhkä ja Rättö ja Lehtisalo,
The Men They Couldn't Hang,
Magazine,
Buzzcocks,
Avey Tare & Kría Brekkan,
Monks,
Marshall Jefferson,
Cluster,
Flipper,
Scott Walker + Sunn O))),
Harpers Bizarre,
Janne Schatter,
Little Man,
Monolake,
The Knickerbockers,
Slave,
H. Thieme,
10cc,
The Doobie Brothers,
Ice-T,
Japan,
Deadbeat,
Bill Wells,
Man Parrish,
T. Rex,
Siouxsie and the Banshees,
Fat Boys,
Letta Mbulu,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.