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 Lesotho and from Manila.
But I was there.
I was there in .
I was there at the first Suicide 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 1966 to 1972.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Manila 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 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 Neil Young & Crazy Horse to the rap kids.
I played it at CBGB's.
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 The Sisters of Mercy. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
H. Thieme,
Tubeway Army,
Pet Shop Boys,
Parry Music,
Masters at Work,
Warren Ellis,
The Barracudas,
Whodini,
Deutsch Amerikanische Freundschaft,
Massinfluence,
CMW,
Bronski Beat,
Q and Not U,
Harpers Bizarre,
Scott Walker,
E-Dancer,
ABBA,
Ultimate Spinach,
Kas Product,
Harmonia,
The Techniques,
Junior Murvin,
Sparks,
The Fire Engines,
Lucky Dragons,
Röyhkä ja Rättö ja Lehtisalo,
Franke,
Marshall Jefferson,
Interpol,
Avey Tare,
Minutemen,
Manfred Mann's Earth Band,
The Seeds,
Mary Jane Girls,
Gil Scott-Heron and Jamie xx,
the Human League,
Cybotron,
Electric Light Orchestra,
Wire,
Underground Resistance,
Drive Like Jehu,
The Red Krayola,
Khruangbin,
David Axelrod,
Max Romeo,
The Alarm Clocks,
Lalo Schifrin,
Thee Headcoats,
Freddie Wadling,
The Wake,
Judy Mowatt,
The Gun Club,
Arcadia,
Richard Hell and the Voidoids,
Ajijia Myrayebe,
Public Enemy,
Pete Rock & C.L. Smooth,
Can,
The Last Poets,
Country Joe & The Fish,
The Count Five,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.