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 Indonesia and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Calgary 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 Robert Palmer 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 Stooges to the electroclash kids.
I played it at Trash.
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 Lakeside. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Bush Tetras 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Jeff Lynne,
Colin Newman,
Bill Wells,
Unrelated Segments,
Severed Heads,
The Pretty Things,
The Cure,
Deutsch Amerikanische Freundschaft,
Moss Icon,
Electric Light Orchestra,
Louis and Bebe Barron,
Ash Ra Tempel,
Brand Nubian,
The Associates,
Cabaret Voltaire,
Saccharine Trust,
The Trojans,
Spoonie Gee,
Idris Muhammad,
Minutemen,
Toni Rubio,
Outsiders,
Pole,
Animal Collective,
Wally Richardson,
The Golliwogs,
Fatback Band,
The Flesh Eaters,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
the Swans,
Kango’s Stein Massive,
Dorothy Ashby,
Ten City,
Porter Ricks,
Harpers Bizarre,
Albert Ayler,
Magazine,
The Gories,
Accadde A,
Richard Hell and the Voidoids,
The Victims,
Vaughan Mason & Crew,
Terry Callier,
Aswad,
The Buckinghams,
the Fania All-Stars,
Moebius,
Donny Hathaway,
A Certain Ratio,
Grandmaster Flash and the Furious Five,
Groovy Waters,
Gong,
Radio Birdman,
Marine Girls,
Hot Snakes,
Scott Walker + Sunn O))),
Basic Channel,
Fluxion,
Todd Rundgren,
UT,
Black Moon, Black Moon, Black Moon, Black Moon.
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.