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 Israel 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 1961 to 1978.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Procol Harum to the punk kids.
I played it at the Troubador.
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 Absolute Body Control. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Barry Ungar,
X-102,
Dark Day,
Gabor Szabo,
Lower 48,
Section 25,
Rosa Yemen,
Echo & the Bunnymen,
The Gun Club,
Ajijia Myrayebe,
Mr. Review,
Harpers Bizarre,
Ronan,
T.S.O.L.,
Skarface,
Toni Rubio,
Byron Stingily,
Public Enemy,
Tears for Fears,
Eli Mardock,
Pantytec,
Amon Düül II,
Morten Harket,
James Chance & The Contortions,
Roy Ayers Ubiquity,
The Golliwogs,
Swans,
Sunsets and Hearts,
A Certain Ratio,
The Grass Roots,
Frankie Knuckles,
The Music Machine,
Fifty Foot Hose,
Adolescents,
Pete Rock & C.L. Smooth,
Bad Manners,
Nirvana,
Animal Collective,
Schoolly D,
Nation of Ulysses,
Jesper Dahlback,
June Days,
Nico,
Masters at Work,
The United States of America,
The Raincoats,
Flash Fearless,
Girls At Our Best!,
Suburban Knight,
Arab on Radar,
Black Sheep,
Arthur Verocai,
Black Flag,
Glenn Branca,
Mars,
Colin Newman,
Davy DMX,
Albert Ayler,
Nas,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.