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 France and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1979.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school New York 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 808 sounds with much patience.
I was there when Holger Czukay 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 Ossler to the disco 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 Judy Mowatt. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Soul Sonic Force,
Sly & The Family Stone,
the Normal,
K-Klass,
Nick Cave & The Bad Seeds,
Glenn Branca,
Stockholm Monsters,
The Human League,
Scrapy,
Nick Fraelich,
Bush Tetras,
Zapp,
Traffic Nightmare,
Terrestrial Tones,
Electric Prunes,
Chris & Cosey,
Roxy Music,
Jacob Miller,
Mad Mike,
Bootsy Collins,
Marc Almond,
Youth Brigade,
Oppenheimer Analysis,
Strawberry Alarm Clock,
Toni Rubio,
Essential Logic,
Pulsallama,
UT,
a-ha,
Lou Reed,
Arthur Verocai,
E-Dancer,
Rhythim Is Rhythim,
Kayak,
Isaac Hayes,
The Neon Judgement,
The Divine Comedy,
Gil Scott-Heron & Brian Jackson,
The Dave Clark Five,
Mary Jane Girls,
The Knickerbockers,
The Cosmic Jokers,
Procol Harum,
Scion,
MDC,
Organ,
Grauzone,
The Fuzztones,
Beasts of Bourbon,
ABBA,
Lebanon Hanover,
Amazonics,
Amon Düül,
Blancmange,
X-101,
Peter and Kerry,
Sun City Girls,
Cal Tjader,
Albert Ayler,
Rowland S Howard / Lydia Lunch,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.