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 Malta and from Copenhagen.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Woodstock 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 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 John Holt to the grime 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 Glenn Branca. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Avey Tare's Slasher Flicks,
cv313,
Bobby Sherman,
48th St. Collective,
Essential Logic,
DJ Sneak,
Scott Walker,
Black Moon,
Inner City,
Blancmange,
Thompson Twins,
Lightning Bolt,
Black Pus,
Ultimate Spinach,
The Moleskins,
Anakelly,
Malaria!,
UT,
Toni Rubio,
The Alarm Clocks,
The Stooges,
Fela Kuti,
Godley & Creme,
Scan 7,
Bobbi Humphrey,
Grandmaster Flash and the Furious Five,
Kurtis Blow,
Gastr Del Sol,
D'Angelo,
The Birthday Party,
Joensuu 1685,
Bootsy Collins,
Lee Hazlewood,
Wally Richardson,
Fugazi,
Rowland S Howard / Lydia Lunch,
Sarah Menescal,
Electric Light Orchestra,
Simply Red,
Gang Gang Dance,
Clear Light,
Alphaville,
Mad Mike,
Gerry Rafferty,
Jerry Gold Smith,
Janne Schatter,
Camberwell Now,
Patti Smith,
Mantronix,
The Cosmic Jokers,
Tomorrow,
The Modern Lovers,
Mr. Review,
Index,
Fort Wilson Riot,
Scratch Acid,
Zero Boys,
Negative Approach,
Talk Talk,
The Star Department,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.