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 Oman and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Essential Logic 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 Hot Snakes. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Liliput,
The Neon Judgement,
The Alarm Clocks,
The Sisters of Mercy,
Prince Buster,
Thompson Twins,
Rotary Connection,
MC5,
The Jesus and Mary Chain,
The Peanut Butter Conspiracy,
Major Organ And The Adding Machine,
The Last Poets,
Von Mondo,
Fear,
Nico,
Godley & Creme,
Ten City,
The Men They Couldn't Hang,
Goldenarms,
Deadbeat,
Half Japanese,
Can,
Sun Ra Arkestra,
The Selecter,
Scrapy,
Fort Wilson Riot,
the Slits,
The Zeros,
Letta Mbulu,
Neil Young,
Barclay James Harvest,
Bobbi Humphrey,
Maleditus Sound,
Heaven 17,
Bronski Beat,
Arcadia,
The Golliwogs,
Connie Case,
The Dead C,
Japan,
Siouxsie and the Banshees,
The Toasters,
Echo & the Bunnymen,
John Foxx,
Deakin,
Little Man,
the Normal,
The Knickerbockers,
Audionom,
World's Most,
Aaron Thompson,
Radiopuhelimet,
Shuggie Otis,
Lower 48,
Schoolly D,
Brand Nubian,
Black Pus,
Magazine,
The Pop Group,
Eli Mardock,
Subhumans,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.