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 Tonga and from Houston.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Boredoms to the grunge kids.
I played it at the 40 Watt.
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 Eurythmics. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Loose Ends,
The Busters,
Scratch Acid,
The Martian,
Pharaoh Sanders and the Fire Engines,
Sly & The Family Stone,
Lalann,
The Modern Lovers,
Andrew Ashong & Theo Parrish,
Rosa Yemen,
Eric Copeland,
Desert Stars,
Matthew Halsall,
Flamin' Groovies,
Mantronix,
The Gun Club,
Kenny Larkin,
Flipper,
The Walker Brothers,
Aaron Thompson,
Buzzcocks,
Eli Mardock,
Nation of Ulysses,
Avey Tare & Kría Brekkan,
The Real Kids,
R.M.O.,
Country Teasers,
The Happenings,
Neil Young & Crazy Horse,
Vaughan Mason & Crew,
Steve Hackett,
Vladislav Delay,
Can,
Moss Icon,
Bad Manners,
De La Soul & Jungle Brothers,
The Selecter,
The Count Five,
U.S. Maple,
AZ,
Mary Jane Girls,
Monolake,
The Techniques,
Teenage Jesus and the Jerks,
Chris & Cosey,
Jacques Brel,
Groovy Waters,
The Durutti Column,
Beasts of Bourbon,
DJ Sneak,
Bang on a Can All-Stars,
The Names,
Funkadelic,
Black Moon,
Television,
EPMD,
Be Bop Deluxe,
La Düsseldorf,
Boz Scaggs,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.