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 Solomon Islands and from Houston.
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 1969 to 1979.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Halifax 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Searchers to the grime 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 Maurizio. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every China Crisis 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Bootsy's Rubber Band,
The Invisible,
Tres Demented,
the Human League,
Warren Ellis,
Man Parrish,
Eurythmics,
Banda Bassotti,
Half Japanese,
Marmalade,
Shuggie Otis,
Kaleidoscope,
Arcadia,
MC5,
The Fortunes,
The Barracudas,
Leonard Cohen,
The J.B.'s,
Rosa Yemen,
Nas,
Scott Walker,
MDC,
Erasure,
CMW,
Drexciya,
Lee Hazlewood,
Audionom,
Peter & Gordon,
Electric Light Orchestra,
Tropical Tobacco,
PIL,
Notorious BIG live in Amsterdam,
Radio Birdman,
Los Fastidios,
Röyhkä ja Rättö ja Lehtisalo,
Sun City Girls,
Donald Byrd,
Sight & Sound,
Schoolly D,
Yaz,
The Birthday Party,
Lakeside,
Faust,
Neil Young & Crazy Horse,
Fort Wilson Riot,
Laurel Aitken,
The American Breed,
Tomorrow,
Scratch Acid,
Ajijia Myrayebe,
Public Enemy,
The Techniques,
The Count Five,
Gregory Isaacs,
Bobbi Humphrey,
James Chance & The Contortions,
Echospace,
Robert Görl,
Joyce Sims,
Metal Thangz,
Roger Hodgson,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.