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 Guinea and from Taipei.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school London 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Make Up to the grime 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 Dave Gahan. All the underground hits.
All Crime tracks. I heard you have a vinyl of every David Bowie 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Bang On A Can,
Kaleidoscope,
Camouflage,
The Dave Clark Five,
Chris Corsano,
Pantaleimon,
Carl Craig,
Kevin Saunderson,
Lindisfarne,
Fad Gadget,
The Standells,
Neil Young,
Orchestral Manoeuvres in the Dark,
Sun Ra Arkestra,
Moby Grape,
New Age Steppers,
David McCallum,
Crooked Eye,
Gong,
Sam Rivers,
Harmonia,
Rosa Yemen,
Man Eating Sloth,
Depeche Mode,
World's Most,
Black Bananas,
Swell Maps,
In Retrospect,
Robert Görl,
Duran Duran,
Vladislav Delay,
Blossom Toes,
John Coltrane,
Danielle Patucci,
Rowland S Howard / Lydia Lunch,
The New Christs,
Eddi Front,
Thinking Fellers Union Local 282,
Scratch Acid,
Brand Nubian,
Cameo,
The Moleskins,
Ossler,
Lafayette Afro Rock Band,
Yaz,
Soft Machine,
Lou Reed & Metallica,
Anakelly,
Supertramp,
Masters at Work,
Grauzone,
The J.B.'s,
Mandrill,
48th St. Collective,
Traffic Nightmare,
Malaria!,
Trumans Water,
The United States of America,
Aural Exciters,
Bobby Byrd,
Justin Hinds & The Dominoes,
Loose Ends,
Cal Tjader,
KRS-One, KRS-One, KRS-One, KRS-One.
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.