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 Spain 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 1965 to 1974.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 H. Thieme to the funk kids.
I played it at Trash.
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 Half Japanese. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal dance 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
JFA,
Trumans Water,
Electric Prunes,
David McCallum,
DeepChord presents Echospace,
Louis and Bebe Barron,
a-ha,
Wolf Eyes,
Max Romeo,
Fatback Band,
Lou Christie,
Sonny Sharrock,
Sam Rivers,
Duran Duran,
Visage,
Amon Düül II,
Los Fastidios,
The Modern Lovers,
The Durutti Column,
T.S.O.L.,
Lindisfarne,
Delon & Dalcan,
Robert Görl,
the Association,
Lyres,
Kevin Saunderson,
Chrome,
The Fire Engines,
Drive Like Jehu,
Susan Cadogan,
Quando Quango,
Kool Moe Dee,
Pylon,
Grauzone,
cv313,
Rites of Spring,
Lou Reed & Metallica,
The Peanut Butter Conspiracy,
The Fall,
Joy Division,
Brass Construction,
Monks,
Terror Squad Feat. Camron,
Marc Almond,
Charles Mingus,
Quadrant,
Ronnie Foster,
Wire,
Pantytec,
The New Christs,
Liaisons Dangereuses,
The Techniques,
Harmonia,
Groovy Waters,
Franke,
The Neon Judgement,
Junior Murvin,
Nik Kershaw,
La Düsseldorf,
Andrew Ashong & Theo Parrish,
Japan, Japan, Japan, Japan.
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.