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 Malawi and from Milan.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
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 at the first Suicide practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Visage to the funk 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 Mission of Burma. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Sällskapet 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
The Slits,
Dual Sessions,
Mandrill,
Ultimate Spinach,
The Moleskins,
Big Daddy Kane,
Morten Harket,
The Misunderstood,
Dark Day,
Agitation Free,
Jacob Miller,
Andrew Ashong & Theo Parrish,
The Names,
The Fall,
Fugazi,
KRS-One,
Eric B and Rakim,
Anthony Braxton,
Deakin,
Fad Gadget,
Rekid,
Eric Dolphy,
Black Sheep,
Marine Girls,
Circle Jerks,
Barrington Levy,
Man Eating Sloth,
A Flock of Seagulls,
Infiniti,
Soft Machine,
Godley & Creme,
Howard Jones,
Ajijia Myrayebe,
Joe Smooth,
Pharaoh Sanders and the Fire Engines,
Oblivians,
the Fania All-Stars,
Rod Modell,
The Victims,
OOIOO,
Manfred Mann's Earth Band,
Interpol,
Avey Tare,
Moss Icon,
Altered Images,
Mary Jane Girls,
Porter Ricks,
Drexciya,
Barry Ungar,
Wasted Youth,
Sugar Minott,
Darondo,
Peter & Gordon,
Eddi Front,
R.M.O.,
Bob Dylan,
Jandek,
Ludus,
Livin' Joy,
8 Eyed Spy,
Minny Pops,
PIL, PIL, PIL, PIL.
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.