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 Norway and from Salvador.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 New Christs to the dance 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 Avey Tare & Kría Brekkan. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
DJ Sneak,
The Residents,
Shoche,
Mo-Dettes,
Shuggie Otis,
Sight & Sound,
Lightning Bolt,
Urselle,
Cecil Taylor,
Strawberry Alarm Clock,
Soulsonic Force,
Bush Tetras,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
Bill Wells,
The Golliwogs,
Lyres,
Angry Samoans,
Soft Machine,
Rotary Connection,
Harmonia,
Don Cherry,
The Fugs,
Zero Boys,
Scientists,
The Vogues,
Mandrill,
Q65,
The J.B.'s,
Yaz,
Mr. Review,
The Knickerbockers,
the Slits,
David Axelrod,
Dead Boys,
Bootsy's Rubber Band,
Sound Behaviour,
Danielle Patucci,
The Selecter,
The Modern Lovers,
Curtis Mayfield,
Dual Sessions,
Mad Mike,
Pharaoh Sanders and the Fire Engines,
the Bar-Kays,
Excepter,
Neu!,
Eden Ahbez,
Popol Vuh,
Index,
Ash Ra Tempel,
Brand Nubian,
Justin Hinds & The Dominoes,
Minny Pops,
Jimmy McGriff,
Graham Central Station,
Piero Umiliani,
Niagra,
Q and Not U,
Television,
Y Pants, Y Pants, Y Pants, Y Pants.
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.