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 Brazil 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 1969 to 1972.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Neu! 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal disco 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Joyce Sims,
Wolf Eyes,
Fugazi,
Roger Hodgson,
The Pop Group,
The Modern Lovers,
The Residents,
Franke,
June Days,
Cymande,
Deepchord,
It's A Beautiful Day,
Vaughan Mason & Crew,
AZ,
Grey Daturas,
Cybotron,
Main Source,
Soul II Soul,
Deutsch Amerikanische Freundschaft,
Bizarre Inc.,
Delta 5,
Unrelated Segments,
Röyhkä ja Rättö ja Lehtisalo,
Cluster,
Ajijia Myrayebe,
Super Lover Cee & Casanova Rud,
Silicon Teens,
John Holt,
Bootsy's Rubber Band,
Terry Callier,
Infiniti,
Brass Construction,
La Düsseldorf,
The Remains,
Lindisfarne,
Sugar Minott,
The West Coast Pop Art Experimental Band,
Johnny Osbourne,
The Martian,
The Doors,
The Wake,
Blancmange,
Model 500,
Can,
Ten City,
The Skatalites,
Sam Rivers,
MDC,
Amazonics,
Suburban Knight,
Neil Young & Crazy Horse,
The Fall,
Man Eating Sloth,
Clear Light,
The Smoke,
Major Organ And The Adding Machine,
Boogie Down Productions,
The Durutti Column,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.