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 Israel and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1976.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Man Parrish to the funk kids.
I played it at the Astoria.
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 Bootsy Collins. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Siouxsie and the Banshees,
Porter Ricks,
Sly & The Family Stone,
The Sound,
Graham Central Station,
Y Pants,
Electric Prunes,
Soft Cell,
Matthew Halsall,
Schoolly D,
Blake Baxter,
Sight & Sound,
Crooked Eye,
World's Most,
Youth Brigade,
The Modern Lovers,
The Standells,
Ice-T,
Joey Negro,
Inner City,
Cymande,
Ronan,
Stetsasonic,
Mantronix,
Deadbeat,
T.S.O.L.,
Spoonie Gee,
Reuben Wilson,
The Cowsills,
Richard Hell and the Voidoids,
The Dirtbombs,
Barclay James Harvest,
The Monks,
Negative Approach,
Suburban Knight,
Suicide,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Clear Light,
Marc Romboy vs. Booka Shade,
Art Ensemble Of Chicago,
8 Eyed Spy,
Pulsallama,
Mars,
Be Bop Deluxe,
E-Dancer,
The Misunderstood,
Sexual Harrassment,
Spandau Ballet,
Eve St. Jones,
Liliput,
Nik Kershaw,
Deakin,
Ken Boothe,
Bizarre Inc.,
Lakeside,
Lafayette Afro Rock Band,
Jerry's Kids,
Circle Jerks,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.