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 Norway and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
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 organ sounds with much patience.
I was there when Lou Reed 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 Henry Cow to the crunk 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 Sonic Youth. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Nas,
Barrington Levy,
Ossler,
Glenn Branca,
DeepChord presents Echospace,
Throbbing Gristle,
Joe Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Livin' Joy,
Pylon,
Hashim,
Joyce Sims,
Bobby Byrd,
Brass Construction,
Danielle Patucci,
Chris & Cosey,
Todd Rundgren,
ABBA,
Bootsy Collins,
Howard Jones,
Deadbeat,
The Beau Brummels,
Avey Tare's Slasher Flicks,
Sad Lovers and Giants,
Flash Fearless,
Avey Tare & Kría Brekkan,
Brand Nubian,
Deepchord,
Nick Cave & The Bad Seeds,
Rekid,
Make Up,
Pantytec,
Soul II Soul,
The Smoke,
The Barracudas,
Lindisfarne,
Saccharine Trust,
Bad Manners,
Mad Mike,
Monks,
Thee Headcoats,
Ituana,
Blake Baxter,
Eric B and Rakim,
Sight & Sound,
Stiv Bators,
Amazonics,
The Detroit Cobras,
The Stooges,
The Golliwogs,
Pulsallama,
Jawbox,
The Moleskins,
Desert Stars,
Skaos,
Bobby Womack,
the Soft Cell,
Q65,
Mary Jane Girls,
The Knickerbockers,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.