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 Cape Verde and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Mexico City and New York.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Crash Course in Science to the grunge kids.
I played it at CBGB's.
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 The Five Americans. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Spandau Ballet,
Dark Day,
Barbara Tucker,
Young Marble Giants,
It's A Beautiful Day,
Matthew Bourne,
Terrestrial Tones,
the Slits,
Cecil Taylor,
Siouxsie and the Banshees,
The Gories,
Scrapy,
David McCallum,
Hashim,
Ultra Naté,
Easy Going,
T.S.O.L.,
Tim Buckley,
Sunsets and Hearts,
Clear Light,
The Stooges,
Flash Fearless,
The Busters,
Sonic Youth,
Frankie Knuckles,
Underground Resistance,
Echospace,
Negative Approach,
Peter & Gordon,
Andrew Ashong & Theo Parrish,
Panda Bear,
Lizzy Mercier Descloux,
Main Source,
Bill Near,
Gang of Four,
T. Rex,
Jeru the Damaja,
The Tremeloes,
The Martian,
KRS-One,
The Grass Roots,
Sun Ra Arkestra,
Man Eating Sloth,
cv313,
ABC,
Peter and Kerry,
Selector Dub Narcotic,
Scott Walker,
K-Klass,
Ultimate Spinach,
Jawbox,
Alison Limerick,
Massinfluence,
The Knickerbockers,
The Chocolate Watch Band,
Jesper Dahlbäck,
Sun Ra,
Wolf Eyes,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.