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 Macedonia and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Susan Cadogan to the grunge kids.
I played it at the Spitz.
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 Scion. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Graham Central Station 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
The Sisters of Mercy,
The Peanut Butter Conspiracy,
Echo & the Bunnymen,
The Red Krayola,
The Dead C,
Strawberry Alarm Clock,
Von Mondo,
Lou Christie,
Roxette,
Rekid,
The Flesh Eaters,
Prince Buster,
the Slits,
Kango’s Stein Massive,
Soft Machine,
Rosa Yemen,
Steve Hackett,
Silicon Teens,
Talk Talk,
Gil Scott Heron,
Tommy Roe,
Pere Ubu,
Scott Walker + Sunn O))),
Grauzone,
Slave,
Sun City Girls,
Soft Cell,
Brick,
10cc,
Circle Jerks,
Avey Tare & Kría Brekkan,
Jacques Brel,
Nation of Ulysses,
L. Decosne,
Robert Wyatt,
The United States of America,
The Chocolate Watch Band,
Marshall Jefferson,
Half Japanese,
Deepchord,
FM Einheit,
Cabaret Voltaire,
Louis and Bebe Barron,
Faust,
DJ Style,
Spoonie Gee,
Gichy Dan,
John Holt,
Aaron Thompson,
Mo-Dettes,
Anakelly,
Alison Limerick,
Jerry's Kids,
The Associates,
Kings Of Tomorrow,
DJ Sneak,
Radiopuhelimet,
The Seeds,
Thompson Twins,
Gang Gang Dance,
Nico, Nico, Nico, Nico.
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.