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 Namibia and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Freddie Wadling to the dance kids.
I played it at the 40 Watt.
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 Roxette. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Bill Near 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 '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Suburban Knight,
John Holt,
Morten Harket,
The Stooges,
Lonnie Liston Smith,
Grandmaster Flash,
The Litter,
Glambeats Corp.,
Pole,
Sugar Minott,
Lightning Bolt,
Rowland S Howard / Lydia Lunch,
Jeff Lynne,
Flamin' Groovies,
The Evens,
Blake Baxter,
Sixth Finger,
Altered Images,
Angels of Light & Akron/Family,
Thompson Twins,
The Zeros,
Rekid,
Youth Brigade,
The Tremeloes,
The Men They Couldn't Hang,
The Mighty Diamonds,
The Music Machine,
Monolake,
Sonic Youth,
Kool G Rap & DJ Polo,
La Düsseldorf,
Flipper,
Scratch Acid,
Lou Reed & Metallica,
Bob Dylan,
Young Marble Giants,
Parry Music,
Art Ensemble Of Chicago,
Flash Fearless,
Yusef Lateef,
Suicide,
Siouxsie and the Banshees,
Talk Talk,
Stereo Dub,
Matthew Halsall,
Echo & the Bunnymen,
Black Flag,
Gang of Four,
The Happenings,
The Grass Roots,
The Searchers,
Organ,
The Index,
The Red Krayola,
Kool Moe Dee,
Oppenheimer Analysis,
Lakeside,
Bronski Beat,
Public Image Ltd.,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.