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 Tanzania and from Accra.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Sexual Harrassment to the dance kids.
I played it at the Astoria.
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 Simply Red. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Q65,
Liaisons Dangereuses,
The Tremeloes,
Bobby Sherman,
Tim Buckley,
Lou Reed,
Blossom Toes,
Jawbox,
Bill Near,
The New Christs,
The Wake,
Henry Cow,
Radio Birdman,
Public Enemy,
Kerri Chandler,
Byron Stingily,
Adolescents,
Moby Grape,
The Fire Engines,
Marcia Griffiths,
Black Pus,
Sad Lovers and Giants,
The Star Department,
Art Ensemble Of Chicago,
Kayak,
Ultimate Spinach,
the Swans,
Metal Thangz,
Jesper Dahlbäck,
Joy Division,
Glenn Branca,
Hashim,
Mantronix,
Alice Coltrane,
Andrew Ashong & Theo Parrish,
The Trojans,
Carl Craig,
Rhythm & Sound,
Dave Gahan,
The Vogues,
Yaz,
Mr. Review,
The Young Rascals,
Larry & the Blue Notes,
Urselle,
Mo-Dettes,
Wolf Eyes,
Livin' Joy,
John Cale,
This Heat,
Stockholm Monsters,
Vladislav Delay,
Sister Nancy,
Bob Dylan,
Jerry's Kids,
D'Angelo,
Babytalk,
Morten Harket,
Faraquet,
Crime,
Saccharine Trust,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.