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 Afghanistan and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Calgary and Lille.
I'm losing my edge to the art-school Calgary 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Victims to the dance 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 Organ. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Delon & Dalcan 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 '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
The Sisters of Mercy,
Goldenarms,
Marcia Griffiths,
Mantronix,
Second Layer,
The Velvet Underground,
48th St. Collective,
Hasil Adkins,
Soul II Soul,
Nick Cave & The Bad Seeds,
Junior Murvin,
The Red Krayola,
The Modern Lovers,
Babytalk,
Graham Central Station,
Wally Richardson,
Malaria!,
The Fire Engines,
Bauhaus,
Smog,
Sun Ra Arkestra,
Orchestral Manoeuvres in the Dark,
Marc Almond,
H. Thieme,
Altered Images,
Skriet,
John Coltrane,
Supertramp,
Grauzone,
Magazine,
The Pop Group,
Terrestrial Tones,
Crime,
Jacob Miller,
Ralphi Rosario,
Fugazi,
Los Fastidios,
Echo & the Bunnymen,
Electric Prunes,
The Remains,
Alphaville,
Magma,
The Fortunes,
Minny Pops,
KRS-One,
June of 44,
Liliput,
Robert Görl,
Bill Near,
Moss Icon,
Frankie Knuckles,
Black Bananas,
A Certain Ratio,
This Heat,
The Toasters,
Parry Music,
Kerri Chandler,
Sad Lovers and Giants,
Jacques Brel,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.