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 San Marino and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Cairo.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Faust to the electroclash 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 Public Image Ltd.. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Prince Buster,
Throbbing Gristle,
cv313,
Bobby Byrd,
The Victims,
Visage,
Bill Wells,
Selector Dub Narcotic,
Godley & Creme,
Bad Manners,
The Sound,
The Durutti Column,
Circle Jerks,
Gian Franco Pienzio,
X-102,
A Certain Ratio,
The Shadows of Knight,
Morten Harket,
Black Sheep,
The Fugs,
Boz Scaggs,
New Order,
The Doors,
The Electric Prunes,
Neil Young,
John Coltrane,
Mad Mike,
Gerry Rafferty,
Jimmy McGriff,
Jawbox,
Amon Düül,
Eden Ahbez,
Ponytail,
Bob Dylan,
Jesper Dahlback,
Archie Shepp,
Jandek,
Jesper Dahlbäck,
Dark Day,
Stereo Dub,
The Zeros,
Swans,
The Doobie Brothers,
Soul II Soul,
Absolute Body Control,
June of 44,
Boogie Down Productions,
Mark Hollis,
Nik Kershaw,
The Vogues,
Arthur Verocai,
Siouxsie and the Banshees,
Slick Rick,
Bobbi Humphrey,
Wally Richardson,
Adolescents,
The Motions,
Negative Approach,
John Cale,
Agitation Free,
Deutsch Amerikanische Freundschaft,
Sight & Sound,
Make Up,
Outsiders, Outsiders, Outsiders, Outsiders.
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.