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 Belize and from Toronto.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Lee Hazlewood to the punk 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 The Move. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Lee Hazlewood,
Camron Feat. Memphis Bleek And Beenie Seigel,
Funky Four + One,
Magazine,
The Pop Group,
Grandmaster Flash,
The Dead C,
PIL,
The Residents,
Stereo Dub,
La Düsseldorf,
Clear Light,
These Immortal Souls,
The Mighty Diamonds,
Cameo,
Avey Tare & Kría Brekkan,
The Seeds,
Black Moon,
Unrelated Segments,
The Pretty Things,
Monolake,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
Robert Görl,
Tommy Roe,
Traffic Nightmare,
Marcia Griffiths,
The Grass Roots,
Reagan Youth,
Warsaw,
Arthur Verocai,
Bob Dylan,
Gang of Four,
Amon Düül,
Laurel Aitken,
ABBA,
Jeff Lynne,
Flipper,
Slick Rick,
The Cure,
Kool G Rap & DJ Polo,
The Men They Couldn't Hang,
Harpers Bizarre,
Hoover,
Skriet,
Minny Pops,
Altered Images,
Stiv Bators,
Eyeless In Gaza,
Scrapy,
Throbbing Gristle,
K-Klass,
Second Layer,
Albert Ayler,
Technova,
Barclay James Harvest,
The J.B.'s,
Hashim,
Visage,
The Young Rascals,
Todd Terry,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.