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 Marshall Islands and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Beijing and Lille.
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 guitar 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 N.O.R.E. Featuring Pharrell to the disco 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 The Offenders. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
48th St. Collective,
UT,
Radiohead,
T.S.O.L.,
Monks,
World's Most,
Smog,
Kings Of Tomorrow,
Siouxsie and the Banshees,
Ultravox,
Ituana,
Visage,
Delta 5,
Nick Cave & The Bad Seeds,
Bluetip,
Sad Lovers and Giants,
Warren Ellis,
PIL,
This Heat,
Guru Guru,
Maleditus Sound,
Simply Red,
New York Dolls,
Panda Bear,
Magma,
The Walker Brothers,
Pere Ubu,
Masters at Work,
Boredoms,
Tom Boy,
Index,
The Doors,
Scratch Acid,
James Chance & The Contortions,
Lyres,
Peter and Kerry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Matthew Bourne,
Sunsets and Hearts,
Roxy Music,
Crash Course in Science,
The Divine Comedy,
Marine Girls,
Lee Hazlewood,
Stetsasonic,
John Foxx,
Donald Byrd,
the Slits,
Kenny Larkin,
Fifty Foot Hose,
Altered Images,
U.S. Maple,
Magazine,
The Alarm Clocks,
Slave,
Skaos,
The Real Kids,
Rekid,
Arcadia,
Black Sheep,
Bauhaus,
The Index, The Index, The Index, The Index.
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.