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 Greece and from Copenhagen.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Portland 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Marc Romboy vs. Booka Shade to the grime kids.
I played it at CBGB's.
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 Danielle Patucci. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Warsaw 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 '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Sparks,
Crooked Eye,
X-Ray Spex,
Groovy Waters,
Man Parrish,
Lakeside,
Swell Maps,
La Düsseldorf,
Gerry Rafferty,
Jerry's Kids,
Reuben Wilson,
Camron Feat. Jay Z And Juelz,
Average White Band,
Main Source,
Crime,
Avey Tare's Slasher Flicks,
Masters at Work,
the Bar-Kays,
Black Pus,
Fatback Band,
The New Christs,
Roy Ayers Ubiquity,
Alice Coltrane,
Robert Görl,
Easy Going,
Eric Copeland,
Strawberry Alarm Clock,
Technova,
Neu!,
Jesper Dahlback,
The Fire Engines,
Tres Demented,
The Electric Prunes,
Tommy Roe,
The Smiths,
Can,
Faraquet,
Boredoms,
Byron Stingily,
the Slits,
The Barracudas,
Wally Richardson,
Newcleus,
The Grass Roots,
Sly & The Family Stone,
Orchestral Manoeuvres in the Dark,
Scrapy,
Liliput,
Jacob Miller,
Robert Hood,
Ornette Coleman,
Mad Mike,
Pylon,
The Modern Lovers,
Thompson Twins,
The West Coast Pop Art Experimental Band,
The Fuzztones,
FM Einheit,
Barclay James Harvest,
Electric Prunes,
Silicon Teens,
Ash Ra Tempel,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.