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 Trinidad & Tobago and from Mumbai.
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 Stockholm and Houston.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Major Organ And The Adding Machine to the grime kids.
I played it at the Crocodile.
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 Chrome. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Au Pairs,
The Cramps,
Laurel Aitken,
Wolf Eyes,
Be Bop Deluxe,
Slick Rick,
Fugazi,
Unwound,
The Standells,
Magma,
Mad Mike,
Pharoah Sanders,
CMW,
Qualms,
Rod Modell,
Peter & Gordon,
cv313,
John Cale,
Lyres,
Aswad,
the Slits,
Colin Newman,
Lee Hazlewood,
Lou Reed & John Cale,
Throbbing Gristle,
Heavy D & The Boyz,
Radio Birdman,
The Techniques,
Cameo,
Chris Corsano,
Darondo,
Altered Images,
Chris & Cosey,
New Order,
Alphaville,
Marshall Jefferson,
Spandau Ballet,
The Alarm Clocks,
Tom Boy,
Echo & the Bunnymen,
Dark Day,
Captain Beefheart & His Magic Band,
Masters at Work,
Crispian St. Peters,
Tomorrow,
Sexual Harrassment,
The Zeros,
The Motions,
Hashim,
Quadrant,
Beasts of Bourbon,
Mantronix,
Panda Bear,
These Immortal Souls,
James White and The Blacks,
Wally Richardson,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Black Bananas,
Deakin, Deakin, Deakin, Deakin.
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.