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 Indonesia and from London.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Jesper Dahlback to the electroclash kids.
I played it at the Troubador.
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 Aaron Thompson. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Letta Mbulu,
T.S.O.L.,
Bang on a Can All-Stars,
Mark Hollis,
Agent Orange,
The Mighty Diamonds,
K-Klass,
Television,
The Cramps,
Malaria!,
The Gladiators,
ABC,
The Angels of Light,
Jeff Mills,
Rhythm & Sound,
Sarah Menescal,
X-Ray Spex,
Das Ding,
Terry Callier,
Suburban Knight,
Ronan,
Traffic Nightmare,
Thompson Twins,
Eve St. Jones,
the Slits,
Electric Light Orchestra,
The Knickerbockers,
MDC,
The Fugs,
The Gories,
Bootsy's Rubber Band,
Howard Jones,
Mantronix,
Joe Smooth,
Dark Day,
Rhythim Is Rhythim,
Organ,
Camron Feat. Jay Z And Juelz,
Piero Umiliani,
Nation of Ulysses,
Cecil Taylor,
Unwound,
Marc Romboy vs. Booka Shade,
Sister Nancy,
The Five Americans,
Scan 7,
Jesper Dahlbäck,
Chrome,
Chris & Cosey,
Monolake,
Moss Icon,
Bush Tetras,
Bootsy Collins,
Aswad,
Surgeon,
Deepchord,
Faust,
Peter and Kerry,
The Wake,
CMW, CMW, CMW, CMW.
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.