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 Burundi and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Count Five to the disco 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 the Association. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Tremeloes 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Victims,
Marcia Griffiths,
Deepchord,
T.S.O.L.,
Mars,
Ronnie Foster,
Sonny Sharrock,
The Blackbyrds,
Unwound,
Visionaries,LMNO, T- Love & Iriscience,
Fort Wilson Riot,
These Immortal Souls,
The Angels of Light,
FM Einheit,
Symarip,
The Birthday Party,
Brick,
Morten Harket,
Marshall Jefferson,
Jandek,
Young Marble Giants,
Lakeside,
Bootsy's Rubber Band,
Wire,
the Slits,
Depeche Mode,
Japan,
Rhythm & Sound,
Eurythmics,
Richard Hell and the Voidoids,
Thompson Twins,
The Knickerbockers,
Isaac Hayes,
Al Stewart,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Soft Cell,
The Pop Group,
Avey Tare's Slasher Flicks,
The Techniques,
Joey Negro,
Sällskapet,
Deutsch Amerikanische Freundschaft,
The Cure,
the Human League,
Monks,
Clear Light,
The Jesus and Mary Chain,
Terrestrial Tones,
Pantytec,
Sun Ra Arkestra,
Lou Reed & Metallica,
Jerry Gold Smith,
Easy Going,
Ornette Coleman,
The Cowsills,
Marc Romboy vs. Booka Shade,
Schoolly D,
Mandrill,
Man Parrish,
Gastr Del Sol,
The Grass Roots,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.