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 Burundi and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Bremen 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 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 Kaleidoscope to the jazz 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 Aaron Thompson. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Rod Modell,
James White and The Blacks,
The Cure,
Todd Rundgren,
Crime,
Ten City,
Infiniti,
Lou Christie,
the Bar-Kays,
Second Layer,
The Count Five,
Gerry Rafferty,
Accadde A,
the Normal,
The Sonics,
Magazine,
PIL,
Jawbox,
Grandmaster Flash,
Skriet,
Monolake,
Metal Thangz,
Von Mondo,
Bobby Hutcherson,
Donny Hathaway,
Joe Smooth,
A Certain Ratio,
Sun Ra,
Cameo,
The Human League,
Be Bop Deluxe,
Jesper Dahlback,
Notorious Big And Bone Thugs,
Rotary Connection,
Ultramagnetic MC's,
Arthur Verocai,
The Star Department,
Scan 7,
Lou Reed & Metallica,
Stiv Bators,
Minor Threat,
Nick Fraelich,
Popol Vuh,
Kaleidoscope,
Stockholm Monsters,
Eve St. Jones,
Byron Stingily,
Sun Ra Arkestra,
Tears for Fears,
Mo-Dettes,
Althea and Donna,
Eurythmics,
Essential Logic,
Freddie Wadling,
Matthew Bourne,
Oneida,
Fugazi,
Brass Construction,
the Fania All-Stars,
Gil Scott Heron,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.