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 Niger and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 synthesizer 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 Skriet to the disco kids.
I played it at the Roxy.
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 Country Joe & The Fish. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Eden Ahbez,
Pantytec,
Super Lover Cee & Casanova Rud,
Sex Pistols,
Brand Nubian,
Brass Construction,
Sällskapet,
The Offenders,
Crash Course in Science,
Goldenarms,
Minny Pops,
Kerri Chandler,
The Move,
Pere Ubu,
The Count Five,
Royal Trux,
Unrelated Segments,
Ornette Coleman,
Soulsonic Force,
The Victims,
The Fugs,
Q65,
Jesper Dahlback,
Avey Tare's Slasher Flicks,
Skaos,
The Stooges,
Avey Tare & Kría Brekkan,
New Age Steppers,
The Dirtbombs,
Alice Coltrane,
Cluster,
The Last Poets,
Slick Rick,
Von Mondo,
Flash Fearless,
The Fire Engines,
The Slits,
The Music Machine,
Section 25,
Rod Modell,
Little Man,
Scratch Acid,
Ponytail,
Mandrill,
Subhumans,
Symarip,
Silicon Teens,
The Fall,
Cabaret Voltaire,
The Knickerbockers,
Depeche Mode,
Ajijia Myrayebe,
Dorothy Ashby,
The Modern Lovers,
Sound Behaviour,
Deadbeat,
Jerry's Kids,
Lalo Schifrin,
Joey Negro,
Harry Pussy,
Vladislav Delay,
Hardrive,
Stockholm Monsters,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.