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 Bahamas and from London.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Philadelphia 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 Black Flag to the rock kids.
I played it at the 40 Watt.
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 Liaisons Dangereuses. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe 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 chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Icehouse,
LL Cool J,
Susan Cadogan,
In Retrospect,
Robert Görl,
Sex Pistols,
The Evens,
The J.B.'s,
Jesper Dahlbäck,
The Fall,
It's A Beautiful Day,
Theoretical Girls,
UT,
Black Flag,
Brass Construction,
Underground Resistance,
The Count Five,
Pole,
The Fugs,
Lou Reed,
Nation of Ulysses,
The Toasters,
Electric Light Orchestra,
Gang Starr,
Monks,
Monolake,
Pere Ubu,
David McCallum,
Vladislav Delay,
Mark Hollis,
Red Lorry Yellow Lorry,
Junior Murvin,
Kerri Chandler,
Aswad,
Hardrive,
Black Pus,
Negative Approach,
Subhumans,
Dave Gahan,
The Detroit Cobras,
a-ha,
10cc,
The Monochrome Set,
Joyce Sims,
A Flock of Seagulls,
Ponytail,
Maleditus Sound,
Lebanon Hanover,
Tim Buckley,
Oppenheimer Analysis,
Robert Hood,
Television,
Barrington Levy,
Bobby Hutcherson,
Schoolly D,
Jeru the Damaja,
Arcadia,
Eli Mardock,
Newcleus,
Roger Hodgson,
Erasure,
The Remains,
The Move,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.