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 Ireland and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Cairo and Madrid.
I'm losing my edge to the art-school Columbus 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 arpeggiator 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 Roy Ayers Ubiquity to the electroclash kids.
I played it at the Crocodile.
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 Teenage Jesus and the Jerks. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every X-Ray Spex 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Laurel Aitken,
Index,
Donald Byrd,
The Zeros,
Pagans,
Boz Scaggs,
Siouxsie and the Banshees,
The Detroit Cobras,
Fatback Band,
Rufus Thomas,
The Doobie Brothers,
Stockholm Monsters,
The Fugs,
Panda Bear,
Slick Rick,
Mr. Review,
Porter Ricks,
The Sound,
Fugazi,
Barclay James Harvest,
Neil Young & Crazy Horse,
The Monks,
Los Fastidios,
Second Layer,
Japan,
Kaleidoscope,
E-Dancer,
Lee Hazlewood,
Maurizio,
Circle Jerks,
Babytalk,
Bizarre Inc.,
48th St. Collective,
Avey Tare & Kría Brekkan,
Rowland S Howard / Lydia Lunch,
Danielle Patucci,
De La Soul & Jungle Brothers,
Gichy Dan,
Pylon,
Stiv Bators,
the Soft Cell,
Flamin' Groovies,
Blancmange,
Ludus,
The Fortunes,
DNA,
Gong,
Jacob Miller,
PIL,
Sex Pistols,
Oneida,
Oppenheimer Analysis,
Malaria!,
The Tremeloes,
New Age Steppers,
The Motions,
Agent Orange,
AZ,
DJ Sneak,
Bill Wells,
Mantronix,
The Selecter, The Selecter, The Selecter, The Selecter.
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.