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 Senegal and from Lagos.
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 Salvador and Salvador.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Visage to the rock kids.
I played it at CBGB's.
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 Crooked Eye. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
U.S. Maple,
The Detroit Cobras,
Max Romeo,
Graham Central Station,
Lower 48,
Rites of Spring,
Judy Mowatt,
Rod Modell,
Josef K,
The Doobie Brothers,
The Move,
Ponytail,
Chris & Cosey,
X-Ray Spex,
Roger Hodgson,
Underground Resistance,
Lou Christie,
Grey Daturas,
Patti Smith,
The Alarm Clocks,
Mo-Dettes,
Jimmy McGriff,
Radiopuhelimet,
Roy Ayers Ubiquity,
UT,
T.S.O.L.,
The Mummies,
Ultra Naté,
Johnny Osbourne,
Ice-T,
Minnie Riperton,
The Fire Engines,
Harpers Bizarre,
Sexual Harrassment,
kango's stein massive,
New Age Steppers,
Fad Gadget,
Outsiders,
Charles Mingus,
Jacques Brel,
Grauzone,
Scott Walker,
Dennis Brown,
Frankie Knuckles,
Jesper Dahlback,
Anthony Braxton,
New York Dolls,
Derrick Morgan,
Bad Manners,
Jesper Dahlbäck,
Carl Craig,
The Walker Brothers,
Eyeless In Gaza,
The Last Poets,
CMW,
Siouxsie and the Banshees,
The Buckinghams,
Bobby Womack,
Chrome,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.