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 Uganda and from Philadelphia.
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 1966 to 1972.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 UT to the crunk kids.
I played it at the Hacienda.
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 Shuggie Otis. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
The Toasters,
New Age Steppers,
E-Dancer,
LL Cool J,
The Cowsills,
X-101,
Kings Of Tomorrow,
Avey Tare's Slasher Flicks,
Eve St. Jones,
Sixth Finger,
Red Lorry Yellow Lorry,
the Human League,
Minutemen,
Stockholm Monsters,
John Foxx,
The Slits,
The Barracudas,
Pete Rock & C.L. Smooth,
Wighnomy Brothers & Robag Wruhme,
the Soft Cell,
DNA,
Morten Harket,
Blossom Toes,
Stereo Dub,
Jeru the Damaja,
Swell Maps,
The Kinks,
The Velvet Underground,
Ituana,
Louis and Bebe Barron,
Smog,
Ultravox,
Josef K,
The Monks,
Cabaret Voltaire,
Angry Samoans,
Accadde A,
Don Cherry,
Thompson Twins,
Jandek,
Black Pus,
The Electric Prunes,
Major Organ And The Adding Machine,
Terry Callier,
Public Image Ltd.,
Nick Fraelich,
Television,
Hoover,
Scion,
Mary Jane Girls,
The Moleskins,
Unrelated Segments,
Supertramp,
The Shadows of Knight,
Electric Light Orchestra,
The Techniques,
The Mojo Men,
Lou Reed & Metallica,
Gregory Isaacs,
Talk Talk,
Mad Mike,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.