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 Kazakhstan and from Mexico City.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Accra 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 spring reverb 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 Sex Pistols to the grunge kids.
I played it at the Astoria.
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 Black Bananas. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Gerry Rafferty,
Tears for Fears,
The Offenders,
Blake Baxter,
The Dirtbombs,
Glenn Branca,
Scott Walker + Sunn O))),
Connie Case,
Radio Birdman,
Subhumans,
Roy Ayers,
Minutemen,
Easy Going,
The Motions,
Depeche Mode,
OOIOO,
Kings Of Tomorrow,
Lou Christie,
Peter and Kerry,
Pere Ubu,
Peter & Gordon,
Public Enemy,
The Buckinghams,
L. Decosne,
The Moody Blues,
Steve Hackett,
Sound Behaviour,
Spoonie Gee,
Andrew Ashong & Theo Parrish,
T.S.O.L.,
Idris Muhammad,
DeepChord presents Echospace,
Drexciya,
The Saints,
Minny Pops,
Grandmaster Flash and the Furious Five,
Lower 48,
Moby Grape,
Eric Dolphy,
Colin Newman,
Dave Gahan,
Ash Ra Tempel,
Inner City,
Orchestral Manoeuvres in the Dark,
Mission of Burma,
Surgeon,
Juan Atkins,
Harry Pussy,
Jawbox,
Hashim,
Pharoah Sanders,
Joe Smooth,
the Slits,
Charles Mingus,
Eric B and Rakim,
Nas,
Animal Collective,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.