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 Luxembourg and from Beijing.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 The Vogues to the grunge kids.
I played it at CBGB's.
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 Derrick Morgan. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Rekid,
The Knickerbockers,
Fifty Foot Hose,
Lakeside,
Gang Starr,
Deakin,
the Soft Cell,
Shuggie Otis,
Soulsonic Force,
Public Image Ltd.,
Mo-Dettes,
Lightning Bolt,
Cecil Taylor,
Radiopuhelimet,
The Vogues,
UT,
Avey Tare's Slasher Flicks,
The Remains,
Lou Christie,
Piero Umiliani,
The Saints,
the Swans,
The Evens,
Rufus Thomas,
Bob Dylan,
The Beau Brummels,
Simply Red,
Lou Reed & John Cale,
Gichy Dan,
Sunsets and Hearts,
Brothers Johnson,
Bill Wells,
Major Organ And The Adding Machine,
The Sonics,
Minor Threat,
Jeff Lynne,
Marvin Gaye,
Beasts of Bourbon,
Guru Guru,
Make Up,
James Chance & The Contortions,
Amon Düül,
KRS-One,
Public Enemy,
Magazine,
World's Most,
Grey Daturas,
Dorothy Ashby,
The J.B.'s,
Desert Stars,
The Fortunes,
One Last Wish,
The Kinks,
Trumans Water,
Erasure,
Mad Mike,
Albert Ayler,
Jacques Brel,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.