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 Columbus.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Spokane 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Chris & Cosey 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 Nick Fraelich. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Minor Threat,
The Standells,
Ronnie Foster,
Justin Hinds & The Dominoes,
Little Man,
Juan Atkins,
Royal Trux,
Boredoms,
Orchestral Manoeuvres in the Dark,
Bob Dylan,
Electric Prunes,
Loose Ends,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
Sarah Menescal,
Pantaleimon,
Newcleus,
DJ Style,
Gregory Isaacs,
Spoonie Gee,
Kas Product,
Suicide,
Clear Light,
Nils Olav,
Jesper Dahlbäck,
Tears for Fears,
Rowland S Howard / Lydia Lunch,
Bronski Beat,
Fad Gadget,
Mandrill,
F. McDonald,
David Axelrod,
Scrapy,
Lungfish,
Unwound,
Amon Düül,
Grandmaster Flash and the Furious Five,
T.S.O.L.,
kango's stein massive,
The Golliwogs,
Captain Beefheart & His Magic Band,
Rod Modell,
Joe Smooth,
Grandmaster Flash,
Warren Ellis,
Skarface,
Jacques Brel,
The Names,
Kayak,
London Community Gospel Choir,
Andrew Hill,
The Moleskins,
Groovy Waters,
Ultravox,
Hardrive,
The New Christs,
Livin' Joy,
Radiohead,
Scratch Acid,
Interpol,
Dark Day,
Gang Gang Dance,
the Slits, the Slits, the Slits, the Slits.
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.