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 Slovakia and from Copenhagen.
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 Copenhagen and Taipei.
I'm losing my edge to the art-school Milan 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 marimba 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 Eli Mardock to the disco kids.
I played it at Trash.
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 Soft Machine. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every kango's stein massive 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Suicide,
The Busters,
Josef K,
New York Dolls,
T. Rex,
Stockholm Monsters,
Index,
Joensuu 1685,
Delon & Dalcan,
The Moleskins,
Section 25,
Archie Shepp,
Animal Collective,
Jawbox,
Funky Four + One,
Bobby Byrd,
Alison Limerick,
Roxy Music,
Avey Tare's Slasher Flicks,
Rowland S Howard / Lydia Lunch,
Glambeats Corp.,
The Cowsills,
Neil Young,
Bill Near,
Black Moon,
Model 500,
Masters at Work,
The American Breed,
The Sound,
Metal Thangz,
The Smiths,
Eric B and Rakim,
Gang Green,
the Soft Cell,
Piero Umiliani,
Amon Düül II,
Minor Threat,
Talk Talk,
Gil Scott-Heron & Brian Jackson,
The Doobie Brothers,
Max Romeo,
Ronnie Foster,
June of 44,
Sonny Sharrock,
Chrome,
Sun City Girls,
Henry Cow,
Brass Construction,
Angry Samoans,
John Foxx,
The Golliwogs,
Skarface,
The Selecter,
Los Fastidios,
Jerry Gold Smith,
A Certain Ratio,
Boredoms,
Pere Ubu,
Kauko Röyhkä ja Narttu,
Moebius,
Patti Smith,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.