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 Argentina and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Calgary and Columbus.
I'm losing my edge to the art-school London 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 The Sound to the punk kids.
I played it at the Troubador.
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 Make Up. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
The Knickerbockers,
Chris Corsano,
Aaron Thompson,
Brick,
Pet Shop Boys,
Quando Quango,
the Sonics,
Scratch Acid,
Harry Pussy,
Swans,
Marc Romboy vs. Booka Shade,
Neil Young & Crazy Horse,
Judy Mowatt,
Urselle,
Darondo,
John Holt,
DJ Style,
James White and The Blacks,
The Seeds,
Mark Hollis,
Ken Boothe,
Minor Threat,
The Busters,
Bobby Womack,
Sex Pistols,
Grandmaster Flash and the Furious Five,
Cameo,
Nas,
JFA,
Adolescents,
The Zeros,
Jacob Miller,
Cymande,
Crash Course in Science,
Lower 48,
Parry Music,
Television,
Strawberry Alarm Clock,
Interpol,
Scott Walker,
Lindisfarne,
The Residents,
Kayak,
Angels of Light & Akron/Family,
The Smoke,
Ituana,
Drexciya,
Derrick May,
These Immortal Souls,
Visage,
Flash Fearless,
Soft Machine,
Infiniti,
Ludus,
Monks,
Ultramagnetic MC's,
Roy Ayers,
Henry Cow,
Kango’s Stein Massive,
Marmalade,
The Mighty Diamonds,
Kas Product,
Blancmange, Blancmange, Blancmange, Blancmange.
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.