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 Jamaica and from London.
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 Woodstock and Edmonton.
I'm losing my edge to the art-school Mexico City 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 snare 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 Japan to the dance kids.
I played it at the Hacienda.
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 Men They Couldn't Hang. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
8 Eyed Spy,
K-Klass,
Ultravox,
Faraquet,
Guru Guru,
Major Organ And The Adding Machine,
Arab on Radar,
Althea and Donna,
A Flock of Seagulls,
Eric B and Rakim,
Smog,
Rotary Connection,
Sound Behaviour,
Section 25,
T. Rex,
Minnie Riperton,
The Young Rascals,
Parry Music,
The Index,
Lonnie Liston Smith,
Robert Hood,
a-ha,
These Immortal Souls,
Unrelated Segments,
The Electric Prunes,
Bizarre Inc.,
Captain Beefheart & His Magic Band,
Kurtis Blow,
The Evens,
Mr. Review,
Glambeats Corp.,
Dorothy Ashby,
Cal Tjader,
Fluxion,
Pussy Galore,
The Cowsills,
Y Pants,
Mark Hollis,
Jawbox,
It's A Beautiful Day,
Faust,
Minor Threat,
The Selecter,
Throbbing Gristle,
Young Marble Giants,
Neu!,
Ultramagnetic MC's,
Kas Product,
Sexual Harrassment,
Pantytec,
John Lydon,
MDC,
Zapp,
Jimmy McGriff,
Warren Ellis,
Lee Hazlewood,
Wighnomy Brothers & Robag Wruhme,
PIL,
Animal Collective,
X-101,
Aswad,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.