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 Guatemala and from Milan.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Ornette Coleman to the crunk kids.
I played it at the Crocodile.
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 Severed Heads. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Massinfluence,
Curtis Mayfield,
The Associates,
Sly & The Family Stone,
Lalann,
Wolf Eyes,
Yaz,
Roxy Music,
Ludus,
Scan 7,
Pierre Henry,
The Knickerbockers,
Radio Birdman,
Ornette Coleman,
Soulsonic Force,
Duran Duran,
The Barracudas,
The Royal Family And The Poor,
The Gories,
Lakeside,
Terrestrial Tones,
Max Romeo,
OOIOO,
Loose Ends,
The Jesus and Mary Chain,
Eric B and Rakim,
Brand Nubian,
The Shadows of Knight,
Delon & Dalcan,
Pussy Galore,
Soul II Soul,
Tres Demented,
Moby Grape,
Magazine,
The Pop Group,
Animal Collective,
Theoretical Girls,
Black Sheep,
Terry Callier,
The Sound,
Grauzone,
Bauhaus,
Bill Near,
Motorama,
Harpers Bizarre,
Hot Snakes,
Dr. Dre and Snoop Doggy Dog,
Unrelated Segments,
The Dirtbombs,
Richard Hell and the Voidoids,
The Cramps,
Sunsets and Hearts,
Moss Icon,
Henry Cow,
Sound Behaviour,
James Chance & The Contortions,
Fugazi,
DJ Style,
June of 44,
Malaria!,
Slick Rick,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.