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 Ukraine and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when David Bowie 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 The Mummies 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 Lucky Dragons. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Ultimate Spinach 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Cure,
Avey Tare & Kría Brekkan,
Supertramp,
Brass Construction,
The Move,
Masters at Work,
T. Rex,
Byron Stingily,
Lungfish,
The New Christs,
Tears for Fears,
Chris Corsano,
Amazonics,
Drive Like Jehu,
The Leaves,
ABBA,
Soft Cell,
The Names,
Rhythim Is Rhythim,
Flash Fearless,
Man Eating Sloth,
Mary Jane Girls,
Neu!,
Eric B and Rakim,
Shoche,
Max Romeo,
Deakin,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Loose Ends,
Eddi Front,
48th St. Collective,
The Moleskins,
The Evens,
Lou Christie,
Niagra,
Iggy Pop,
Urselle,
Make Up,
Bootsy's Rubber Band,
James Chance & The Contortions,
Nas,
Lou Reed & John Cale,
Major Organ And The Adding Machine,
Anakelly,
Arcadia,
Bobby Byrd,
Ponytail,
Matthew Bourne,
Average White Band,
Lebanon Hanover,
Rekid,
Faraquet,
Ken Boothe,
Q and Not U,
Chris & Cosey,
Lightning Bolt,
The Litter,
Mark Hollis,
The J.B.'s,
Sun City Girls,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.