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 Peru and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Cairo and Woodstock.
I'm losing my edge to the art-school Milan 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Godley & Creme to the crunk kids.
I played it at the Crocodile.
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 Peter & Gordon. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Minor Threat 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
The West Coast Pop Art Experimental Band,
Ken Boothe,
Sight & Sound,
Rod Modell,
a-ha,
48th St. Collective,
Country Joe & The Fish,
The Monochrome Set,
Popol Vuh,
Avey Tare & Kría Brekkan,
The Sisters of Mercy,
Fat Boys,
Bill Near,
Tomorrow,
Fort Wilson Riot,
Gil Scott-Heron & Brian Jackson,
Royal Trux,
Bobby Sherman,
Quantec,
Eddi Front,
Nick Cave & The Bad Seeds,
The Smoke,
the Soft Cell,
Leonard Cohen,
London Community Gospel Choir,
the Sonics,
Sparks,
New Age Steppers,
Toni Rubio,
Von Mondo,
The J.B.'s,
Mary Jane Girls,
Unrelated Segments,
Nirvana,
Newcleus,
Scott Walker + Sunn O))),
Ornette Coleman,
Eve St. Jones,
Pharoah Sanders,
Animal Collective,
Curtis Mayfield,
New York Dolls,
Eden Ahbez,
Shuggie Otis,
Sarah Menescal,
Drive Like Jehu,
Ponytail,
Vainqueur,
Mo-Dettes,
The Saints,
Warren Ellis,
The Sonics,
The Gories,
Porter Ricks,
Sällskapet,
Hoover,
Sunsets and Hearts,
10cc,
Loose Ends,
Bang on a Can All-Stars,
Negative Approach,
Soul Sonic Force,
Scrapy, Scrapy, Scrapy, Scrapy.
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.