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 Papua New Guinea and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Stereo Dub 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 Oblivians. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Bauhaus,
Talk Talk,
Deutsch Amerikanische Freundschaft,
The Names,
Magazine,
The Pop Group,
The Fuzztones,
Marc Almond,
Throbbing Gristle,
Laurel Aitken,
Glenn Branca,
Little Man,
Kauko Röyhkä ja Narttu,
Thinking Fellers Union Local 282,
Delon & Dalcan,
Nation of Ulysses,
Bobbi Humphrey,
Ash Ra Tempel,
Alison Limerick,
PIL,
Lee Hazlewood,
Crooked Eye,
Sex Pistols,
Kenny Larkin,
Joyce Sims,
Bobby Sherman,
The Dirtbombs,
Electric Light Orchestra,
Lungfish,
the Association,
John Foxx,
Terror Squad Feat. Camron,
Masters at Work,
Unrelated Segments,
Dr. Dre and Snoop Doggy Dog,
Scott Walker,
Stetsasonic,
Dark Day,
Public Image Ltd.,
Sixth Finger,
Bill Near,
Agent Orange,
Lou Reed & Metallica,
Be Bop Deluxe,
Eden Ahbez,
Pylon,
The Cowsills,
Avey Tare & Kría Brekkan,
Boredoms,
The Vogues,
Lou Christie,
Notorious Big And Bone Thugs,
The Mighty Diamonds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter and Kerry,
Essential Logic,
Jawbox,
Avey Tare's Slasher Flicks,
Crime, Crime, Crime, Crime.
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.