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 Costa Rica and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Art of Noise 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 Major Organ And The Adding Machine to the rap 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 Jesper Dahlback. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Bobbi Humphrey,
Dead Boys,
Eden Ahbez,
Terry Callier,
John Foxx,
Skriet,
Bobby Byrd,
Groovy Waters,
Pulsallama,
Depeche Mode,
The Slackers,
Larry & the Blue Notes,
The Fire Engines,
JFA,
Strawberry Alarm Clock,
Loose Ends,
Black Moon,
Jawbox,
Joe Finger,
A Flock of Seagulls,
K-Klass,
Echo & the Bunnymen,
the Germs,
Barclay James Harvest,
Vainqueur,
Kas Product,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Misunderstood,
Radiohead,
John Holt,
Sight & Sound,
Barry Ungar,
Grauzone,
Peter Gordon & Love of Life Orchestra,
Marmalade,
Neu!,
Qualms,
Carl Craig,
The Leaves,
Pagans,
The Shadows of Knight,
Lizzy Mercier Descloux,
Pylon,
The Modern Lovers,
Archie Shepp,
Bronski Beat,
Fela Kuti,
Moby Grape,
Donny Hathaway,
Soft Machine,
Cameo,
Lyres,
Vaughan Mason & Crew,
Royal Trux,
A Certain Ratio,
Crispian St. Peters,
Throbbing Gristle,
Nation of Ulysses,
Laurel Aitken,
Deadbeat,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.