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 Armenia and from Sao Paulo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Adolescents 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 Bauhaus. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Scion,
Procol Harum,
Outsiders,
Goldenarms,
MC5,
Lightning Bolt,
The Neon Judgement,
The Detroit Cobras,
Harry Pussy,
Roxette,
X-Ray Spex,
Barclay James Harvest,
Tropical Tobacco,
Harmonia,
Duran Duran,
Cal Tjader,
Magma,
Pussy Galore,
Bill Near,
Tomorrow,
Teenage Jesus and the Jerks,
Unwound,
Susan Cadogan,
The Stooges,
Robert Hood,
Jacques Brel,
Pharoah Sanders,
Gerry Rafferty,
Pagans,
Inner City,
Quantec,
Mr. Review,
Faust,
The Kinks,
Spandau Ballet,
The Human League,
10cc,
Alice Coltrane,
KRS-One,
Mark Hollis,
Sister Nancy,
Brand Nubian,
Grandmaster Flash,
Visage,
The Cramps,
Saccharine Trust,
June of 44,
Cheater Slicks,
Public Image Ltd.,
The Wake,
Jesper Dahlback,
Al Stewart,
In Retrospect,
Audionom,
Gong,
Alison Limerick,
Fluxion,
Alton Ellis,
Black Flag,
B.T. Express,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.