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 Austria and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1973.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Paris 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 David McCallum to the crunk kids.
I played it at the 40 Watt.
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 Derrick May. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every The Cramps 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Josef K,
The Alarm Clocks,
Cabaret Voltaire,
Susan Cadogan,
Idris Muhammad,
Joyce Sims,
Subhumans,
Be Bop Deluxe,
Marshall Jefferson,
Jacob Miller,
Bob Dylan,
The Sonics,
Dawn Penn,
The Golliwogs,
The Victims,
Ken Boothe,
Groovy Waters,
Crash Course in Science,
Severed Heads,
The Sound,
Terrestrial Tones,
Von Mondo,
Nico,
Niagra,
Robert Hood,
Minnie Riperton,
The Cramps,
Jerry's Kids,
The Cosmic Jokers,
Circle Jerks,
Stiv Bators,
Thee Headcoats,
Y Pants,
LL Cool J,
John Holt,
The Mojo Men,
Deakin,
Amon Düül II,
Charles Mingus,
The Star Department,
Derrick May,
Roxy Music,
Mad Mike,
Jeff Mills,
Major Organ And The Adding Machine,
Ronan,
Boogie Down Productions,
Tears for Fears,
Ralphi Rosario,
The Music Machine,
Black Bananas,
Kurtis Blow,
The Fuzztones,
Liliput,
Interpol,
D'Angelo,
Quantec,
This Heat,
Public Image Ltd.,
Eric Copeland,
The Associates,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.