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 Turkey and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Johnny Osbourne to the jazz kids.
I played it at the Astoria.
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 Ronan. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Scion,
The Fuzztones,
Zero Boys,
Das Ding,
Wally Richardson,
New Order,
Audionom,
Aural Exciters,
Joey Negro,
The Doors,
T.S.O.L.,
cv313,
CMW,
Jacob Miller,
Echospace,
The Modern Lovers,
Mo-Dettes,
The Monochrome Set,
DeepChord presents Echospace,
Skaos,
Ronnie Foster,
Byron Stingily,
Stetsasonic,
Drexciya,
Kaleidoscope,
Boz Scaggs,
Justin Hinds & The Dominoes,
The Standells,
Mars,
Lafayette Afro Rock Band,
Alphaville,
Lungfish,
Howard Jones,
The Jesus and Mary Chain,
The Golliwogs,
The Wake,
Bauhaus,
Eric Copeland,
Gong,
Michelle Simonal,
The Gun Club,
Susan Cadogan,
Crooked Eye,
Teenage Jesus and the Jerks,
The Selecter,
Animal Collective,
John Cale,
DJ Style,
Yazoo,
Johnny Osbourne,
The Cure,
Gil Scott-Heron & Brian Jackson,
Unrelated Segments,
The Dead C,
Eden Ahbez,
Deepchord,
Stereo Dub,
Tommy Roe,
Interpol,
Nils Olav,
The Music Machine,
R.M.O., R.M.O., R.M.O., R.M.O..
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.