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 Jordan and from Calgary.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Toronto 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Bobby Womack to the grunge kids.
I played it at the Hacienda.
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 Lou Christie. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Toni Rubio,
Cybotron,
Khruangbin,
Kauko Röyhkä ja Narttu,
Ponytail,
Justin Hinds & The Dominoes,
Avey Tare's Slasher Flicks,
Cecil Taylor,
Camberwell Now,
Flamin' Groovies,
Rhythm & Sound,
Kerrie Biddell,
Al Stewart,
Cameo,
Motorama,
Gang of Four,
David Axelrod,
a-ha,
Michelle Simonal,
The Fire Engines,
Rapeman,
Dead Boys,
Nick Fraelich,
Pulsallama,
Wighnomy Brothers & Robag Wruhme,
Delon & Dalcan,
Roxy Music,
The Star Department,
10cc,
Lungfish,
China Crisis,
The Doobie Brothers,
Ralphi Rosario,
Neil Young & Crazy Horse,
The Electric Prunes,
Skaos,
Make Up,
Drive Like Jehu,
Eric Dolphy,
Lebanon Hanover,
Depeche Mode,
Sad Lovers and Giants,
James Chance & The Contortions,
Aaron Thompson,
Electric Prunes,
John Coltrane,
Eric Copeland,
Jimmy McGriff,
Marc Almond,
Aural Exciters,
the Association,
The Gladiators,
Lou Reed,
James White and The Blacks,
Lou Reed & Metallica,
Inner City,
Tropical Tobacco,
Lalo Schifrin,
Ronan,
Fela Kuti,
Joe Finger,
World's Most,
Accadde A,
Joy Division, Joy Division, Joy Division, Joy Division.
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.