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 Paraguay and from Spokane.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Rod Modell to the crunk 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 The Modern Lovers. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Talk Talk,
Siouxsie and the Banshees,
Oppenheimer Analysis,
JFA,
The Birthday Party,
Wings,
Radio Birdman,
Eyeless In Gaza,
It's A Beautiful Day,
Lucky Dragons,
Eurythmics,
DJ Style,
Lebanon Hanover,
Mark Hollis,
Super Lover Cee & Casanova Rud,
Soft Machine,
Anthony Braxton,
Bobby Byrd,
Sound Behaviour,
Severed Heads,
Deutsch Amerikanische Freundschaft,
Scratch Acid,
Unrelated Segments,
The Seeds,
Pussy Galore,
Sarah Menescal,
Barclay James Harvest,
U.S. Maple,
Tears for Fears,
T. Rex,
Pantaleimon,
OOIOO,
Moss Icon,
Television,
Bang On A Can,
Technova,
Dorothy Ashby,
Eric B and Rakim,
X-102,
Trumans Water,
Blancmange,
Bootsy's Rubber Band,
John Foxx,
Althea and Donna,
The Remains,
Eden Ahbez,
Sparks,
Parry Music,
Gil Scott Heron,
Joyce Sims,
The Victims,
Livin' Joy,
Jimmy McGriff,
The United States of America,
Icehouse,
Kaleidoscope,
Lightning Bolt,
Silicon Teens,
Reuben Wilson,
Y Pants,
Outsiders, Outsiders, Outsiders, Outsiders.
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.