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 Mexico and from Bologna.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 Man Eating Sloth to the rock 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 Harpers Bizarre. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Rites of Spring 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 '50s cut and another box set from the '70s.
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 Red Lorry Yellow Lorry record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
John Lydon,
Gang Green,
Andrew Hill,
Das Ding,
Joey Negro,
Althea and Donna,
Ash Ra Tempel,
Ludus,
H. Thieme,
The Pretty Things,
Stereo Dub,
Barclay James Harvest,
Wire,
cv313,
Lou Reed & Metallica,
A Flock of Seagulls,
Boredoms,
Von Mondo,
Sight & Sound,
Aaron Thompson,
Mantronix,
Lindisfarne,
Radiopuhelimet,
The Last Poets,
Big Daddy Kane,
Soul II Soul,
Oppenheimer Analysis,
Gang Gang Dance,
The Mighty Diamonds,
Loose Ends,
Marmalade,
John Cale,
Sun Ra,
Urselle,
48th St. Collective,
Yaz,
Lafayette Afro Rock Band,
The Fugs,
The Fire Engines,
Quadrant,
Cal Tjader,
New Age Steppers,
Desert Stars,
Jeff Mills,
Judy Mowatt,
The Beau Brummels,
Kas Product,
Pantaleimon,
Flipper,
Second Layer,
Tears for Fears,
The Sisters of Mercy,
These Immortal Souls,
Marcia Griffiths,
Lyres,
The American Breed,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.