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 Slovakia and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Godley & Creme to the electroclash kids.
I played it at Trash.
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 Durutti Column. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Sixth Finger,
Barry Ungar,
Ken Boothe,
The Sisters of Mercy,
Y Pants,
Oppenheimer Analysis,
The Royal Family And The Poor,
Ultravox,
Jimmy McGriff,
Inner City,
Sex Pistols,
Grandmaster Flash,
One Last Wish,
MC5,
Public Enemy,
Nation of Ulysses,
Los Fastidios,
The Stooges,
Suicide,
Barclay James Harvest,
Pantytec,
Throbbing Gristle,
New York Dolls,
Swans,
Isaac Hayes,
Ralphi Rosario,
Bootsy's Rubber Band,
The Black Dice,
Frankie Knuckles,
Magma,
The Mojo Men,
Gary Puckett & The Union Gap,
Harry Pussy,
James Chance & The Contortions,
Yellowson,
Mary Jane Girls,
Traffic Nightmare,
Fatback Band,
Rapeman,
Sandy B,
Janne Schatter,
Fort Wilson Riot,
Hoover,
Depeche Mode,
Roxette,
ABC,
Todd Rundgren,
Pagans,
Dark Day,
Crooked Eye,
The Fuzztones,
U.S. Maple,
Fat Boys,
Gil Scott-Heron & Brian Jackson,
The Gories,
David Bowie,
John Holt,
Banda Bassotti,
Graham Central Station,
Kerrie Biddell,
Kango’s Stein Massive,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.