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 Turkey and from Stockholm.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Brass Construction to the punk kids.
I played it at the 40 Watt.
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 Dual Sessions. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Von Mondo,
Davy DMX,
Roy Ayers Ubiquity,
EPMD,
Delta 5,
Rod Modell,
Arcadia,
Traffic Nightmare,
Crispy Ambulance,
Soft Cell,
Scion,
Mad Mike,
Yellowson,
John Foxx,
Johnny Osbourne,
Ronnie Foster,
The Names,
Television,
the Human League,
Nation of Ulysses,
Bobby Hutcherson,
the Soft Cell,
Radiohead,
Underground Resistance,
Throbbing Gristle,
Bobby Sherman,
One Last Wish,
Lebanon Hanover,
Boz Scaggs,
Technova,
Lungfish,
Sticky Fingaz feat. Raekwon,
Lee Hazlewood,
Lou Christie,
Stetsasonic,
The Motions,
Agitation Free,
Blake Baxter,
Bang On A Can,
Icehouse,
the Association,
The Tremeloes,
Sun Ra Arkestra,
Fear,
The Mummies,
Essential Logic,
Matthew Bourne,
Pere Ubu,
Chris Corsano,
Animal Collective,
Aural Exciters,
The Doobie Brothers,
Angry Samoans,
Blossom Toes,
The J.B.'s,
MC5,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lakeside,
Art Ensemble Of Chicago,
Sällskapet,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.