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 Malawi and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Paris.
I'm losing my edge to the art-school Manchester 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Mr. Review to the funk 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 Lower 48. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Soft Cell,
John Holt,
Reuben Wilson,
Magazine,
The Cure,
Monolake,
Arab on Radar,
Bootsy Collins,
Rekid,
Maleditus Sound,
Larry & the Blue Notes,
F. McDonald,
James White and The Blacks,
The Smiths,
Rites of Spring,
John Coltrane,
the Association,
Graham Central Station,
Alphaville,
The Happenings,
Mantronix,
The Divine Comedy,
Visionaries,LMNO, T- Love & Iriscience,
the Swans,
Barrington Levy,
Cameo,
Con Funk Shun,
Angels of Light & Akron/Family,
The Gories,
Fugazi,
Lalo Schifrin,
Wings,
Electric Prunes,
DNA,
Kevin Saunderson,
Gregory Isaacs,
Newcleus,
The Offenders,
Siouxsie and the Banshees,
Jandek,
The Fall,
Donald Byrd,
Bizarre Inc.,
Severed Heads,
Jeff Lynne,
Radio Birdman,
The Real Kids,
Index,
the Sonics,
Oneida,
Bill Near,
Underground Resistance,
Terror Squad Feat. Camron,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
China Crisis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kaleidoscope,
Essential Logic,
Crooked Eye,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.