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 Luxembourg and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1971.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 The Detroit Cobras to the crunk 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 Trumans Water. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Camouflage 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Kerri Chandler,
The Move,
Mandrill,
the Slits,
Roger Hodgson,
Avey Tare's Slasher Flicks,
Albert Ayler,
Mark Hollis,
Fugazi,
the Association,
Black Flag,
Super Lover Cee & Casanova Rud,
Jawbox,
AZ,
Ultravox,
Silicon Teens,
Soul Sonic Force,
Bobbi Humphrey,
Black Bananas,
Monks,
Harpers Bizarre,
The Wake,
Cecil Taylor,
Erykah Badu,
Lalo Schifrin,
Amon Düül,
The Dave Clark Five,
The Associates,
Brand Nubian,
Organ,
Don Cherry,
the Human League,
The Cowsills,
Parry Music,
Al Stewart,
The Fuzztones,
The Birthday Party,
Graham Central Station,
Supertramp,
The American Breed,
Hoover,
The Chocolate Watch Band,
Warren Ellis,
Donald Byrd,
The Martian,
The Modern Lovers,
X-Ray Spex,
New York Dolls,
The Gap Band,
The Stooges,
X-102,
Pet Shop Boys,
Barrington Levy,
Leonard Cohen,
Avey Tare & Kría Brekkan,
Stiv Bators,
Depeche Mode,
Laurel Aitken,
Drive Like Jehu,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.