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 Djibouti and from Hong Kong.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Edmonton 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 oboe 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 Inner City to the rap 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 Eli Mardock. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal dance 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar 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 Soft Cell,
The Dead C,
Flipper,
The Jesus and Mary Chain,
Rhythim Is Rhythim,
Minnie Riperton,
Kerri Chandler,
Ralphi Rosario,
Tim Buckley,
Pere Ubu,
Scion,
Ultra Naté,
Unrelated Segments,
Lalo Schifrin,
The Pretty Things,
The Victims,
Television,
Visage,
The Sound,
The Fortunes,
Silicon Teens,
Peter and Kerry,
The Busters,
F. McDonald,
Echospace,
Delon & Dalcan,
Rapeman,
June of 44,
Pylon,
New Order,
Minny Pops,
Supertramp,
Sällskapet,
The Evens,
Leonard Cohen,
Jawbox,
Albert Ayler,
Kool Moe Dee,
Siouxsie and the Banshees,
Jeff Lynne,
Spandau Ballet,
Brothers Johnson,
Thompson Twins,
The Smoke,
Fugazi,
Lucky Dragons,
Johnny Clarke,
Sound Behaviour,
Rotary Connection,
Fifty Foot Hose,
Essential Logic,
Buzzcocks,
48th St. Collective,
The Barracudas,
the Human League,
Oblivians,
Smog,
Teenage Jesus and the Jerks,
Derrick Morgan,
Eric B and Rakim,
the Normal,
The Star Department,
Charles Mingus,
Kas Product, Kas Product, Kas Product, Kas Product.
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.