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 Liechtenstein and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Columbus 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 mellotron 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 Richard Hell and the Voidoids to the grunge kids.
I played it at CBGB's.
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 Alison Limerick. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Wighnomy Brothers & Robag Wruhme,
Theoretical Girls,
Glambeats Corp.,
The Smoke,
Bronski Beat,
The Durutti Column,
Slave,
Radiopuhelimet,
The Peanut Butter Conspiracy,
Talk Talk,
Lucky Dragons,
Tears for Fears,
E-Dancer,
Pylon,
Subhumans,
Black Moon,
Andrew Hill,
Bang on a Can All-Stars,
Gil Scott-Heron & Brian Jackson,
Scientists,
Mars,
The Flesh Eaters,
Black Sheep,
Organ,
Bizarre Inc.,
Traffic Nightmare,
Lebanon Hanover,
Beasts of Bourbon,
The Tremeloes,
Super Lover Cee & Casanova Rud,
Skarface,
Derrick Morgan,
The New Christs,
Stiv Bators,
Mr. Review,
Letta Mbulu,
Angels of Light & Akron/Family,
Boogie Down Productions,
Mary Jane Girls,
Ossler,
Gichy Dan,
Rekid,
a-ha,
Malaria!,
Brick,
F. McDonald,
Guru Guru,
Electric Light Orchestra,
The Alarm Clocks,
Sticky Fingaz feat. Raekwon,
Avey Tare,
the Slits,
Basic Channel,
The Monochrome Set,
Minor Threat,
Dorothy Ashby,
Alice Coltrane,
Agitation Free,
Ash Ra Tempel,
Q65,
The Mojo Men,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.