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 Chad and from Edmonton.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Barrington Levy to the electroclash kids.
I played it at the Hacienda.
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 Lou Reed & John Cale. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal grime 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 a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Graham Central Station,
Ronnie Foster,
Fugazi,
Pierre Henry,
Mars,
Arcadia,
Circle Jerks,
Supertramp,
Alphaville,
Gregory Isaacs,
Harmonia,
Banda Bassotti,
Rufus Thomas,
Rekid,
Barrington Levy,
Glambeats Corp.,
Urselle,
Scott Walker + Sunn O))),
The Vogues,
Skaos,
Nick Fraelich,
Tubeway Army,
Procol Harum,
Junior Murvin,
Groovy Waters,
Steve Hackett,
Joy Division,
Mo-Dettes,
Ten City,
Interpol,
The Doors,
The Star Department,
Aswad,
KRS-One,
Bauhaus,
Tears for Fears,
The Cure,
Pharaoh Sanders and the Fire Engines,
Josef K,
Andrew Hill,
Bobby Byrd,
DeepChord presents Echospace,
Camberwell Now,
Oblivians,
Funky Four + One,
Lizzy Mercier Descloux,
Sticky Fingaz feat. Raekwon,
Bootsy Collins,
Cluster,
Albert Ayler,
Moby Grape,
Avey Tare's Slasher Flicks,
Public Image Ltd.,
The Grass Roots,
Todd Rundgren,
Japan,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
Country Teasers,
New Order,
Teenage Jesus and the Jerks,
Lower 48,
D'Angelo,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.