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 Gambia and from Taipei.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Bologna 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Hot Snakes to the funk kids.
I played it at the Spitz.
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 The Zeros. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Ituana 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Kings Of Tomorrow,
The Offenders,
K-Klass,
Marshall Jefferson,
D'Angelo,
Fela Kuti,
Lungfish,
Mary Jane Girls,
These Immortal Souls,
Peter Gordon & Love of Life Orchestra,
Ken Boothe,
Scratch Acid,
Kerri Chandler,
U.S. Maple,
Echospace,
Kerrie Biddell,
Throbbing Gristle,
Ultimate Spinach,
Jerry Gold Smith,
Dead Boys,
Pere Ubu,
World's Most,
Sandy B,
Gary Puckett & The Union Gap,
10cc,
The Smoke,
Joy Division,
Ultramagnetic MC's,
Drexciya,
Alphaville,
Goldenarms,
Q and Not U,
Drive Like Jehu,
The Star Department,
Neil Young,
Terrestrial Tones,
Davy DMX,
The Invisible,
Tommy Roe,
Terror Squad Feat. Camron,
Slave,
The Music Machine,
Lee Hazlewood,
Panda Bear,
Parry Music,
Richard Hell and the Voidoids,
Thinking Fellers Union Local 282,
Boogie Down Productions,
Deakin,
The Searchers,
R.M.O.,
Wolf Eyes,
Qualms,
Pharaoh Sanders and the Fire Engines,
Nation of Ulysses,
Funkadelic,
Kenny Larkin,
The Slackers,
Soft Machine,
Anthony Braxton,
Pierre Henry,
Piero Umiliani,
Fluxion, Fluxion, Fluxion, Fluxion.
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.