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 Poland and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1973.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Toronto 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 David Bowie 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 Minutemen to the dance kids.
I played it at the Troubador.
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 Siouxsie and the Banshees. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal disco 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Con Funk Shun,
Half Japanese,
Colin Newman,
Ronan,
The Barracudas,
The Residents,
Bootsy Collins,
Bizarre Inc.,
The Dead C,
The Count Five,
The Pop Group,
Television Personalities,
Hasil Adkins,
John Holt,
La Düsseldorf,
Wally Richardson,
Cameo,
Idris Muhammad,
Peter and Kerry,
Susan Cadogan,
Larry & the Blue Notes,
The Dave Clark Five,
The Real Kids,
Shoche,
Kool G Rap & DJ Polo,
The Busters,
the Bar-Kays,
Cabaret Voltaire,
Arthur Verocai,
Archie Shepp,
Skarface,
Bobby Sherman,
Red Lorry Yellow Lorry,
Aswad,
Flamin' Groovies,
Faraquet,
the Normal,
Terrestrial Tones,
Graham Central Station,
Michelle Simonal,
Mars,
LL Cool J,
Circle Jerks,
Funkadelic,
Judy Mowatt,
Pete Rock & C.L. Smooth,
Sarah Menescal,
Ralphi Rosario,
Strawberry Alarm Clock,
Main Source,
The New Christs,
Brick,
Lonnie Liston Smith,
Heavy D & The Boyz,
Tom Boy,
Flash Fearless,
Matthew Halsall,
Blossom Toes,
Ultravox,
Gil Scott-Heron and Jamie xx,
Rites of Spring,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.