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 Belarus 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 1960 to 1970.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 Joe Finger to the electroclash kids.
I played it at the Astoria.
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 Man Parrish. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Bronski Beat 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
The Monks,
Charles Mingus,
Crash Course in Science,
Country Teasers,
Ossler,
Essential Logic,
Severed Heads,
Lightning Bolt,
Eyeless In Gaza,
Joensuu 1685,
Nico,
The Fire Engines,
Second Layer,
Yaz,
Pierre Henry,
The Grass Roots,
Au Pairs,
Stetsasonic,
The West Coast Pop Art Experimental Band,
James Chance & The Contortions,
Joe Finger,
Mission of Burma,
Bootsy's Rubber Band,
The Star Department,
Delta 5,
Marc Romboy vs. Booka Shade,
Rhythm & Sound,
Ken Boothe,
Fear,
Glenn Branca,
Intrusion,
cv313,
T.S.O.L.,
The Divine Comedy,
R.M.O.,
Q and Not U,
June of 44,
Louis and Bebe Barron,
Vladislav Delay,
The Cosmic Jokers,
Kauko Röyhkä ja Narttu,
Siouxsie and the Banshees,
Teenage Jesus and the Jerks,
Sound Behaviour,
Neil Young,
Ice-T,
Derrick Morgan,
The Victims,
Yazoo,
The Mighty Diamonds,
Lonnie Liston Smith,
Minnie Riperton,
Nick Fraelich,
The Black Dice,
Absolute Body Control,
Slave,
Camouflage,
Goldenarms,
Beasts of Bourbon,
Nik Kershaw,
This Heat,
The Move, The Move, The Move, The Move.
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.