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 Uzbekistan 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 1962 to 1972.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Todd Rundgren to the grunge 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 Rapeman. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Malaria!,
London Community Gospel Choir,
La Düsseldorf,
Negative Approach,
The Smoke,
Amazonics,
Richard Hell and the Voidoids,
Suicide,
The Barracudas,
Das Ding,
Wire,
Arthur Verocai,
Bang on a Can All-Stars,
The Move,
Josef K,
Patti Smith,
Lou Christie,
Quando Quango,
The Music Machine,
Lightning Bolt,
Parry Music,
Dual Sessions,
The Fugs,
Echo & the Bunnymen,
Vaughan Mason & Crew,
The Blackbyrds,
The Saints,
Marcia Griffiths,
Danielle Patucci,
Con Funk Shun,
Duran Duran,
Joe Smooth,
John Cale,
Swell Maps,
Thompson Twins,
Susan Cadogan,
World's Most,
Sexual Harrassment,
Avey Tare's Slasher Flicks,
L. Decosne,
Sixth Finger,
Boz Scaggs,
Justin Hinds & The Dominoes,
Excepter,
Electric Prunes,
Vainqueur,
Eyeless In Gaza,
Marc Almond,
Rahsaan Roland Kirk,
Bluetip,
Todd Terry,
Blossom Toes,
Half Japanese,
Barrington Levy,
Sällskapet,
Grauzone,
The Moleskins,
The Slits,
Kaleidoscope,
The Knickerbockers,
Andrew Hill,
Babytalk, Babytalk, Babytalk, Babytalk.
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.