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 Ethiopia and from Toronto.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Buzzcocks to the electroclash 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 Kas Product. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Crime,
Pulsallama,
Cluster,
Panda Bear,
Lalo Schifrin,
Derrick Morgan,
Jawbox,
Alison Limerick,
Josef K,
Ken Boothe,
a-ha,
Nico,
Michelle Simonal,
The Tremeloes,
Cal Tjader,
Sun Ra Arkestra,
Blake Baxter,
Visionaries,LMNO, T- Love & Iriscience,
Louis and Bebe Barron,
Peter Gordon & Love of Life Orchestra,
Sugar Minott,
Oneida,
Audionom,
Suburban Knight,
Amon Düül,
Aswad,
Nirvana,
Subhumans,
Soft Machine,
The Index,
Röyhkä ja Rättö ja Lehtisalo,
Qualms,
Slave,
Chris & Cosey,
Model 500,
Rowland S Howard / Lydia Lunch,
The Shadows of Knight,
Roxy Music,
The Barracudas,
Black Flag,
Terrestrial Tones,
Eric B and Rakim,
Nick Cave & The Bad Seeds,
The Victims,
Soulsonic Force,
Ludus,
Bobbi Humphrey,
Pierre Henry,
Bobby Byrd,
10cc,
Unrelated Segments,
The Cure,
Rufus Thomas,
Kool G Rap & DJ Polo,
L. Decosne,
The Five Americans,
The J.B.'s,
X-101,
Siouxsie and the Banshees,
The Dead C,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.