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 Micronesia and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 The Doors to the dance kids.
I played it at Cafe Wha.
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 Slits. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Arthur Verocai,
Black Pus,
Saccharine Trust,
Liliput,
The Litter,
John Cale,
Oppenheimer Analysis,
The Birthday Party,
Agitation Free,
Bobby Sherman,
Qualms,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
Nico,
The Chocolate Watch Band,
U.S. Maple,
Sun Ra,
the Normal,
David McCallum,
Boredoms,
Marine Girls,
Franke,
Flash Fearless,
Rapeman,
Ten City,
The Black Dice,
It's A Beautiful Day,
Beasts of Bourbon,
Richard Hell and the Voidoids,
Juan Atkins,
Thinking Fellers Union Local 282,
Lebanon Hanover,
Zero Boys,
FM Einheit,
Skaos,
Bobby Byrd,
Lightning Bolt,
Kool G Rap & DJ Polo,
X-102,
Teenage Jesus and the Jerks,
Roxy Music,
Pole,
Warren Ellis,
The West Coast Pop Art Experimental Band,
Tommy Roe,
Reagan Youth,
David Bowie,
Scott Walker,
Drive Like Jehu,
The United States of America,
Babytalk,
The Cure,
Darondo,
Soul II Soul,
Gil Scott-Heron and Jamie xx,
Amon Düül,
the Association,
F. McDonald,
Albert Ayler,
The Cowsills,
the Swans,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.