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 Kyrgyzstan and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Scratch Acid to the dance kids.
I played it at the 40 Watt.
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 This Heat. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Scientists,
Clear Light,
Crooked Eye,
Bootsy Collins,
The Smiths,
Pharaoh Sanders and the Fire Engines,
The Doobie Brothers,
Radio Birdman,
Jacob Miller,
Motorama,
Mark Hollis,
Sixth Finger,
Loose Ends,
Joe Finger,
Laurel Aitken,
Rahsaan Roland Kirk,
Curtis Mayfield,
Negative Approach,
The Fall,
Skriet,
Chrome,
The Invisible,
Ponytail,
Moss Icon,
Chris & Cosey,
Todd Rundgren,
Barry Ungar,
KRS-One,
Charles Mingus,
Graham Central Station,
New York Dolls,
Todd Terry,
Crispy Ambulance,
Spandau Ballet,
Soft Machine,
Archie Shepp,
The Trojans,
Shuggie Otis,
Ronan,
Sex Pistols,
Theoretical Girls,
The Smoke,
Vainqueur,
Amon Düül II,
Marine Girls,
Boz Scaggs,
Tomorrow,
The Names,
Traffic Nightmare,
Bill Wells,
Quantec,
Siouxsie and the Banshees,
Fear,
The J.B.'s,
Terror Squad Feat. Camron,
Bill Near,
Q and Not U,
Red Lorry Yellow Lorry,
The Sonics,
Y Pants,
The Pretty Things,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.