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 Singapore and from Jakarta.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Cabaret Voltaire to the dance 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 Gang of Four. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Tomorrow,
The Fortunes,
The Tremeloes,
Minutemen,
Adolescents,
Shoche,
Flamin' Groovies,
The Standells,
The Techniques,
Shuggie Otis,
D'Angelo,
The Invisible,
H. Thieme,
Gil Scott-Heron and Jamie xx,
Idris Muhammad,
The Blues Magoos,
B.T. Express,
Icehouse,
Eddi Front,
Tropical Tobacco,
Marc Romboy vs. Booka Shade,
Moebius,
Dennis Brown,
Lower 48,
the Fania All-Stars,
Brass Construction,
Intrusion,
The Grass Roots,
Underground Resistance,
Nils Olav,
Kayak,
X-102,
Eden Ahbez,
Zero Boys,
Pagans,
Cluster,
Manfred Mann's Earth Band,
Talk Talk,
Masters at Work,
Slave,
Don Cherry,
The Motions,
Fort Wilson Riot,
MDC,
Arab on Radar,
Eric Copeland,
Art Ensemble Of Chicago,
Section 25,
Freddie Wadling,
Clear Light,
Lou Reed & Metallica,
Alphaville,
The Moody Blues,
Pantytec,
Lebanon Hanover,
Joe Finger,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
China Crisis,
The Men They Couldn't Hang,
The Dirtbombs,
Brothers Johnson,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.