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 Mongolia and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1978.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Stockholm Monsters to the electroclash kids.
I played it at the Astoria.
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 Con Funk Shun. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Pussy Galore,
Masters at Work,
The Cosmic Jokers,
Circle Jerks,
Jacob Miller,
Soulsonic Force,
Blancmange,
Ultimate Spinach,
Kevin Saunderson,
Minutemen,
Neil Young & Crazy Horse,
Kurtis Blow,
Bob Dylan,
Bad Manners,
John Lydon,
Alton Ellis,
Cabaret Voltaire,
Country Joe & The Fish,
Patti Smith,
Erasure,
Louis and Bebe Barron,
the Soft Cell,
Theoretical Girls,
Angels of Light & Akron/Family,
Soft Machine,
Warren Ellis,
The Pretty Things,
Niagra,
Iggy Pop,
The Sisters of Mercy,
Gang Starr,
Smog,
The Barracudas,
Siglo XX,
Can,
The Real Kids,
The Velvet Underground,
Pole,
The Last Poets,
Scott Walker,
The Shadows of Knight,
The Fugs,
Section 25,
Pharaoh Sanders and the Fire Engines,
The Jesus and Mary Chain,
Surgeon,
Organ,
The Slits,
Camouflage,
Tommy Roe,
DJ Style,
Kayak,
Lyres,
The Mojo Men,
the Association,
Siouxsie and the Banshees,
Simply Red,
Parry Music,
the Germs,
Skarface,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.