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 Kyrgyzstan and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1977.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Hong Kong 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 Minny Pops to the disco 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 Sun City Girls. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Josef K,
Cluster,
Lungfish,
Ken Boothe,
The Smiths,
Country Joe & The Fish,
The Selecter,
Scott Walker + Sunn O))),
Boz Scaggs,
Outsiders,
Bobby Sherman,
Rhythim Is Rhythim,
Davy DMX,
The Young Rascals,
Rhythm & Sound,
Joensuu 1685,
Derrick May,
Main Source,
The Shadows of Knight,
Bang on a Can All-Stars,
Ohio Players,
Ultravox,
Schoolly D,
The United States of America,
Dark Day,
James White and The Blacks,
Soul Sonic Force,
Marshall Jefferson,
Loose Ends,
Godley & Creme,
Brass Construction,
Rowland S Howard / Lydia Lunch,
Mantronix,
Subhumans,
A Flock of Seagulls,
Deadbeat,
Flamin' Groovies,
Susan Cadogan,
Quantec,
Das Ding,
Chris & Cosey,
PIL,
Nik Kershaw,
the Soft Cell,
The Offenders,
Lizzy Mercier Descloux,
Au Pairs,
Tres Demented,
Yaz,
Kauko Röyhkä ja Narttu,
Funky Four + One,
The Monks,
Grandmaster Flash,
The Moleskins,
The Smoke,
Tommy Roe,
Mark Hollis,
Masters at Work,
Q and Not U,
Organ,
Royal Trux,
Barrington Levy,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.