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 Mauritania and from Shanghai.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Stetsasonic to the grunge 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 Thompson Twins. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. 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?
Red Lorry Yellow Lorry,
Delta 5,
Accadde A,
Ultra Naté,
Janne Schatter,
Pagans,
Joensuu 1685,
China Crisis,
Half Japanese,
Young Marble Giants,
The Misunderstood,
Nick Fraelich,
Hoover,
Albert Ayler,
Nick Cave & The Bad Seeds,
Vaughan Mason & Crew,
Zero Boys,
Oneida,
The Raincoats,
Major Organ And The Adding Machine,
Intrusion,
Judy Mowatt,
Throbbing Gristle,
Fluxion,
The Evens,
Bobbi Humphrey,
The Velvet Underground,
Leonard Cohen,
Electric Light Orchestra,
Rites of Spring,
Whodini,
The Young Rascals,
Barclay James Harvest,
Juan Atkins,
Peter and Kerry,
Tom Boy,
Model 500,
kango's stein massive,
Morten Harket,
The Divine Comedy,
The Durutti Column,
The Index,
The Beau Brummels,
Lindisfarne,
Pulsallama,
Cameo,
The Smoke,
Thompson Twins,
Soft Cell,
X-Ray Spex,
Curtis Mayfield,
Manfred Mann's Earth Band,
Sun Ra,
Althea and Donna,
10cc,
Bronski Beat,
Bobby Sherman,
PIL,
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
Eyeless In Gaza,
Marvin Gaye,
Heavy D & The Boyz,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.