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 China and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Marc Almond to the crunk kids.
I played it at Cafe Wha.
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 X-101. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Moleskins,
Laurel Aitken,
The Velvet Underground,
Scion,
Electric Prunes,
The Associates,
Eyeless In Gaza,
Visionaries,LMNO, T- Love & Iriscience,
Gian Franco Pienzio,
Main Source,
Vladislav Delay,
Pharaoh Sanders and the Fire Engines,
ABBA,
Y Pants,
The Selecter,
Rowland S Howard / Lydia Lunch,
Heaven 17,
Tubeway Army,
Radiopuhelimet,
Frankie Knuckles,
Neil Young,
Big Daddy Kane,
Anakelly,
Michelle Simonal,
Yaz,
Moss Icon,
The Shadows of Knight,
Judy Mowatt,
Althea and Donna,
Blake Baxter,
Lucky Dragons,
Los Fastidios,
Camouflage,
Brothers Johnson,
Lower 48,
Alphaville,
Danielle Patucci,
Lou Reed,
cv313,
Basic Channel,
Nation of Ulysses,
Soft Machine,
Adolescents,
Freddie Wadling,
Black Pus,
The Move,
Faust,
The Real Kids,
The Raincoats,
Radio Birdman,
Model 500,
Kango’s Stein Massive,
Chrome,
Sex Pistols,
Richard Hell and the Voidoids,
The Fall,
Notorious BIG live in Amsterdam,
Dawn Penn,
Agent Orange,
Circle Jerks,
Cameo,
Mission of Burma,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.