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 Poland 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 1963 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
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 clarinet 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 The Leaves to the rap kids.
I played it at the Hacienda.
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 The Pretty Things. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Gian Franco Pienzio,
Au Pairs,
Cabaret Voltaire,
Ohio Players,
Radio Birdman,
The Peanut Butter Conspiracy,
The United States of America,
KRS-One,
Sex Pistols,
Scrapy,
The Black Dice,
Guru Guru,
The Offenders,
Masters at Work,
Supertramp,
Neil Young & Crazy Horse,
Spoonie Gee,
Ituana,
Nick Fraelich,
Lou Reed,
Anthony Braxton,
The Moody Blues,
Tommy Roe,
The Shadows of Knight,
Brand Nubian,
The Motions,
Chrome,
The Birthday Party,
Joe Smooth,
Lungfish,
New Order,
Das Ding,
Dr. Dre and Snoop Doggy Dog,
Black Flag,
Bauhaus,
Wasted Youth,
Mary Jane Girls,
Crash Course in Science,
Jeff Mills,
The American Breed,
Eric B and Rakim,
Amon Düül,
Icehouse,
Chris & Cosey,
8 Eyed Spy,
ABC,
Tom Boy,
Lou Christie,
Rapeman,
Crime,
The Blackbyrds,
Blancmange,
Marmalade,
Circle Jerks,
Wings,
Essential Logic,
Slave,
Average White Band,
The Techniques,
Dave Gahan,
Japan,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.