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 Saudi Arabia and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Roxy Music to the grunge kids.
I played it at the Hacienda.
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 Robert Wyatt. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Harmonia 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
the Soft Cell,
Mandrill,
PIL,
Peter and Kerry,
Siglo XX,
Sticky Fingaz feat. Raekwon,
Matthew Bourne,
Liaisons Dangereuses,
The Mojo Men,
Rufus Thomas,
Half Japanese,
Gabor Szabo,
Sarah Menescal,
David McCallum,
Oblivians,
Infiniti,
the Fania All-Stars,
Sun City Girls,
Joy Division,
cv313,
The Angels of Light,
The Move,
Andrew Ashong & Theo Parrish,
Jacques Brel,
Buzzcocks,
Minutemen,
Desert Stars,
Tim Buckley,
The Neon Judgement,
The Raincoats,
Wighnomy Brothers & Robag Wruhme,
Mantronix,
Roy Ayers,
Black Flag,
Frankie Knuckles,
Camouflage,
Aswad,
AZ,
The Moody Blues,
Angry Samoans,
Lalo Schifrin,
Trumans Water,
Deadbeat,
Stiv Bators,
Lou Reed & John Cale,
Amazonics,
Robert Hood,
The Residents,
Magazine,
The Pop Group,
Royal Trux,
Dawn Penn,
Main Source,
Essential Logic,
The Slits,
Fort Wilson Riot,
Index,
Throbbing Gristle,
Underground Resistance,
Bauhaus,
Jesper Dahlback,
Minny Pops,
Henry Cow,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.