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 Palau and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1979.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Severed Heads to the disco 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 Soft Cell. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal disco 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Andrew Hill,
The Cure,
Skriet,
UT,
Rapeman,
Iggy Pop,
Spandau Ballet,
The Grass Roots,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Joe & The Fish,
Ronnie Foster,
The Selecter,
The Cosmic Jokers,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
The Dirtbombs,
Notorious Big And Bone Thugs,
The Moody Blues,
A Flock of Seagulls,
Roy Ayers Ubiquity,
Minutemen,
Don Cherry,
CMW,
Avey Tare & Kría Brekkan,
Vladislav Delay,
Lafayette Afro Rock Band,
The Mighty Diamonds,
Matthew Bourne,
X-102,
The Martian,
Todd Terry,
Johnny Osbourne,
Ohio Players,
the Bar-Kays,
Peter Gordon & Love of Life Orchestra,
Depeche Mode,
Nils Olav,
Ultramagnetic MC's,
Buzzcocks,
The Slackers,
Orchestral Manoeuvres in the Dark,
Frankie Knuckles,
Jacob Miller,
The Real Kids,
Rakim,
Los Fastidios,
D'Angelo,
Pylon,
Television,
The Black Dice,
Simply Red,
FM Einheit,
The Mummies,
Khruangbin,
Rekid,
Arab on Radar,
Tres Demented,
Ponytail,
a-ha,
DNA,
Babytalk,
the Normal, the Normal, the Normal, the Normal.
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.