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 Liberia and from Winnipeg.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe 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 Sister Nancy to the punk 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 Marcia Griffiths. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Patti Smith,
Jawbox,
The Chocolate Watch Band,
Lightning Bolt,
DJ Sneak,
The Detroit Cobras,
Audionom,
the Soft Cell,
Gang of Four,
The Divine Comedy,
Kenny Larkin,
X-Ray Spex,
Funky Four + One,
Marine Girls,
Bobby Womack,
Deakin,
X-101,
Fifty Foot Hose,
The Seeds,
Lou Reed & Metallica,
Royal Trux,
Supertramp,
The Doobie Brothers,
Masters at Work,
Siglo XX,
Avey Tare & Kría Brekkan,
the Slits,
Sound Behaviour,
Zero Boys,
Eric Dolphy,
ABBA,
Be Bop Deluxe,
Loose Ends,
Heaven 17,
Harry Pussy,
The Index,
AZ,
Eddi Front,
Sunsets and Hearts,
Liaisons Dangereuses,
Can,
Grey Daturas,
The Neon Judgement,
Derrick Morgan,
Sad Lovers and Giants,
John Coltrane,
Albert Ayler,
Flipper,
Kas Product,
Mantronix,
Blancmange,
Fatback Band,
Minutemen,
Flash Fearless,
The Offenders,
Jeff Lynne,
Moss Icon,
London Community Gospel Choir,
Sarah Menescal,
Television,
a-ha, a-ha, a-ha, a-ha.
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.