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 Croatia and from Toronto.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Portland and Mexico City.
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 oboe 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 Boredoms to the dance kids.
I played it at the 40 Watt.
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 Rapeman. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
John Cale,
Moebius,
Anthony Braxton,
Essential Logic,
Rufus Thomas,
Q and Not U,
Yusef Lateef,
Fat Boys,
Stockholm Monsters,
Black Sheep,
The Sisters of Mercy,
Joy Division,
Robert Hood,
Lebanon Hanover,
Nils Olav,
Sexual Harrassment,
the Swans,
Roger Hodgson,
Dual Sessions,
Lou Reed,
Ornette Coleman,
Joey Negro,
Circle Jerks,
The Monochrome Set,
The Smiths,
The Five Americans,
Eric B and Rakim,
Lou Reed & John Cale,
Deepchord,
Black Bananas,
Liaisons Dangereuses,
Chris & Cosey,
The Chocolate Watch Band,
The Angels of Light,
The Count Five,
Con Funk Shun,
James Chance & The Contortions,
H. Thieme,
Gil Scott Heron,
Rhythm & Sound,
Sugar Minott,
Juan Atkins,
Angry Samoans,
Barbara Tucker,
Severed Heads,
Surgeon,
X-Ray Spex,
The Techniques,
MC5,
the Association,
Scan 7,
Mo-Dettes,
Drive Like Jehu,
June Days,
Marc Almond,
F. McDonald,
Avey Tare's Slasher Flicks,
Brothers Johnson,
Gil Scott-Heron and Jamie xx,
Pet Shop Boys,
Tommy Roe,
The Fugs, The Fugs, The Fugs, The Fugs.
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.