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 Madagascar and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1972.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 The Monks to the techno 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 Ronan. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every The Selecter 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 a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Groovy Waters,
Nation of Ulysses,
Dark Day,
The Fall,
The Remains,
Funkadelic,
Marvin Gaye,
These Immortal Souls,
The Real Kids,
The Motions,
Ultimate Spinach,
The Human League,
Babytalk,
T. Rex,
Smog,
Robert Hood,
Laurel Aitken,
Soft Machine,
Aaron Thompson,
Gil Scott Heron,
Susan Cadogan,
Colin Newman,
CMW,
Pylon,
Livin' Joy,
Porter Ricks,
The Wake,
Stereo Dub,
Fat Boys,
cv313,
The Alarm Clocks,
Sugar Minott,
Glenn Branca,
Roxy Music,
Roy Ayers Ubiquity,
Ornette Coleman,
Chris & Cosey,
Boredoms,
Albert Ayler,
The Residents,
The Kinks,
Faraquet,
Underground Resistance,
David Axelrod,
The Associates,
Eyeless In Gaza,
Slave,
Stiv Bators,
Alton Ellis,
The Saints,
The Fire Engines,
Teenage Jesus and the Jerks,
Mark Hollis,
Hot Snakes,
London Community Gospel Choir,
Jawbox,
The Walker Brothers,
Grandmaster Flash,
Lee Hazlewood,
Bootsy Collins,
Scan 7,
DNA, DNA, DNA, DNA.
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.