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 Armenia and from Tehran.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Lyon 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Henry Cow to the punk kids.
I played it at the Spitz.
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 Soul II Soul. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Agitation Free 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Bizarre Inc.,
Minny Pops,
Sight & Sound,
Avey Tare & Kría Brekkan,
Chrome,
Crispian St. Peters,
Harpers Bizarre,
Lizzy Mercier Descloux,
The Sonics,
Quadrant,
The Mojo Men,
Qualms,
Brass Construction,
Alice Coltrane,
Radio Birdman,
Dawn Penn,
Kerrie Biddell,
Leonard Cohen,
Visage,
the Human League,
Black Pus,
Wasted Youth,
Maurizio,
Black Bananas,
The Blackbyrds,
Rhythm & Sound,
Peter & Gordon,
D'Angelo,
Eurythmics,
Swans,
Au Pairs,
Lebanon Hanover,
La Düsseldorf,
Justin Hinds & The Dominoes,
Cabaret Voltaire,
Basic Channel,
Guru Guru,
The Music Machine,
Jandek,
Notorious Big And Bone Thugs,
Absolute Body Control,
X-101,
The Five Americans,
The Slits,
Susan Cadogan,
James Chance & The Contortions,
Anakelly,
The Detroit Cobras,
The Young Rascals,
The Peanut Butter Conspiracy,
In Retrospect,
Suburban Knight,
Arab on Radar,
Severed Heads,
Crash Course in Science,
Q65,
Fugazi,
Von Mondo,
Crime,
The Stooges,
Ajijia Myrayebe,
A Certain Ratio,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.