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 Somalia and from Calgary.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Tehran 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Sexual Harrassment to the techno 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 Pole. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Avey Tare's Slasher Flicks,
Lizzy Mercier Descloux,
Barbara Tucker,
One Last Wish,
Mo-Dettes,
Johnny Osbourne,
Camberwell Now,
Al Stewart,
Michelle Simonal,
Stockholm Monsters,
The Names,
Louis and Bebe Barron,
Television Personalities,
Siglo XX,
The Mighty Diamonds,
The Jesus and Mary Chain,
Monolake,
Kango’s Stein Massive,
Boogie Down Productions,
Sad Lovers and Giants,
Gong,
The Fall,
Judy Mowatt,
Soft Machine,
Ludus,
Nation of Ulysses,
10cc,
June Days,
Pulsallama,
Graham Central Station,
The Black Dice,
Negative Approach,
Wasted Youth,
Deakin,
It's A Beautiful Day,
The Blues Magoos,
Gang Gang Dance,
Oblivians,
Gichy Dan,
Röyhkä ja Rättö ja Lehtisalo,
Absolute Body Control,
Piero Umiliani,
Siouxsie and the Banshees,
Con Funk Shun,
Gabor Szabo,
Country Joe & The Fish,
LL Cool J,
Alison Limerick,
Underground Resistance,
Ituana,
Bad Manners,
Godley & Creme,
Soul Sonic Force,
Rod Modell,
Silicon Teens,
Art Ensemble Of Chicago,
Cybotron,
The Saints,
The Beau Brummels,
Tomorrow,
Kurtis Blow,
Yazoo, Yazoo, Yazoo, Yazoo.
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.