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 Romania and from Tokyo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes 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 Be Bop Deluxe to the disco kids.
I played it at the Astoria.
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 Toni Rubio. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Royal Trux,
Deepchord,
Jimmy McGriff,
Jeff Mills,
Scott Walker,
CMW,
Motorama,
Monolake,
Bill Near,
Reagan Youth,
New York Dolls,
Pantaleimon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Japan,
Glambeats Corp.,
Shoche,
Alice Coltrane,
cv313,
Pierre Henry,
The Remains,
Ronan,
Drexciya,
David Axelrod,
Sandy B,
X-Ray Spex,
Q and Not U,
The United States of America,
Albert Ayler,
Television,
Max Romeo,
The Detroit Cobras,
Beasts of Bourbon,
Pharoah Sanders,
Gichy Dan,
Ultravox,
Camouflage,
Kango’s Stein Massive,
The Dave Clark Five,
The Names,
Jeru the Damaja,
Ornette Coleman,
The Modern Lovers,
Fatback Band,
Teenage Jesus and the Jerks,
Derrick Morgan,
Ken Boothe,
Colin Newman,
The J.B.'s,
Tommy Roe,
Louis and Bebe Barron,
Tres Demented,
Youth Brigade,
Pulsallama,
Girls At Our Best!,
Little Man,
Rosa Yemen,
Sunsets and Hearts,
Peter Gordon & Love of Life Orchestra,
The Move,
Essential Logic,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.