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 Angola and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1972.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Aloha Tigers to the electroclash 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 Sly & The Family Stone. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Nation of Ulysses 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Brick,
Selector Dub Narcotic,
Siouxsie and the Banshees,
Maurizio,
Sound Behaviour,
Cheater Slicks,
The Wake,
JFA,
Jesper Dahlbäck,
Orchestral Manoeuvres in the Dark,
Johnny Clarke,
Absolute Body Control,
Avey Tare's Slasher Flicks,
Marc Almond,
LL Cool J,
Boredoms,
Sonny Sharrock,
Kayak,
Todd Terry,
Pharaoh Sanders and the Fire Engines,
These Immortal Souls,
The West Coast Pop Art Experimental Band,
Wasted Youth,
Icehouse,
Lalo Schifrin,
Amon Düül,
Vainqueur,
Rites of Spring,
the Soft Cell,
Susan Cadogan,
Andrew Hill,
The Chocolate Watch Band,
Q65,
Jeff Lynne,
Shoche,
Deutsch Amerikanische Freundschaft,
Circle Jerks,
Sun City Girls,
Warsaw,
FM Einheit,
Bobby Sherman,
Matthew Bourne,
Rhythim Is Rhythim,
Bob Dylan,
Interpol,
Sexual Harrassment,
Flash Fearless,
Alice Coltrane,
Bad Manners,
Soul II Soul,
Roxette,
Royal Trux,
Liliput,
Grandmaster Flash and the Furious Five,
10cc,
Louis and Bebe Barron,
Mad Mike,
X-102,
Leonard Cohen,
Banda Bassotti,
Carl Craig,
The Slits,
Deakin,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.