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 San Marino and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Philadelphia 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Howard Jones to the punk kids.
I played it at the Roxy.
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 Bush Tetras. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Rites of Spring 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
R.M.O.,
Fatback Band,
Circle Jerks,
Joe Finger,
Todd Rundgren,
Kool G Rap & DJ Polo,
LL Cool J,
Louis and Bebe Barron,
Carl Craig,
U.S. Maple,
The Smoke,
Laurel Aitken,
Echo & the Bunnymen,
Kerrie Biddell,
Oppenheimer Analysis,
Warsaw,
Kauko Röyhkä ja Narttu,
Fluxion,
The Trojans,
Susan Cadogan,
Rekid,
Mark Hollis,
The Doobie Brothers,
Joe Smooth,
Grandmaster Flash,
Aaron Thompson,
John Holt,
The Dead C,
Juan Atkins,
Main Source,
Excepter,
The Royal Family And The Poor,
Robert Hood,
Dawn Penn,
Tomorrow,
A Certain Ratio,
The Detroit Cobras,
Johnny Clarke,
Marshall Jefferson,
The Evens,
Depeche Mode,
Flash Fearless,
Lalann,
ABBA,
The Mojo Men,
Organ,
Hashim,
Bobby Hutcherson,
Minny Pops,
Sandy B,
Nas,
Buzzcocks,
Flamin' Groovies,
The Neon Judgement,
Jeff Mills,
Slick Rick,
The Cure,
Major Organ And The Adding Machine,
Soulsonic Force,
New Order,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.