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 United Kingdom and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Toronto.
I'm losing my edge to the art-school Houston 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 Holger Czukay 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 Funky Four + One to the dance kids.
I played it at the Roxy.
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 Todd Rundgren. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Lindisfarne 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
ABBA,
Ponytail,
Popol Vuh,
Main Source,
Porter Ricks,
Model 500,
June of 44,
Teenage Jesus and the Jerks,
The Beau Brummels,
The Victims,
John Lydon,
the Association,
Joey Negro,
Moby Grape,
Buzzcocks,
The Invisible,
Ralphi Rosario,
Quadrant,
Mission of Burma,
Negative Approach,
Dawn Penn,
Terry Callier,
Japan,
Pantaleimon,
Bizarre Inc.,
F. McDonald,
Rod Modell,
Dorothy Ashby,
Blake Baxter,
Liliput,
Pole,
T. Rex,
The Standells,
K-Klass,
Mo-Dettes,
the Swans,
Cymande,
the Slits,
Pharoah Sanders,
OOIOO,
Scion,
Television,
The Monks,
Desert Stars,
Stetsasonic,
These Immortal Souls,
Intrusion,
Terrestrial Tones,
Swans,
Black Flag,
London Community Gospel Choir,
Hardrive,
A Flock of Seagulls,
Glambeats Corp.,
Roxy Music,
Pulsallama,
Moebius,
Newcleus,
Marcia Griffiths,
Delon & Dalcan,
Sparks,
The Wake, The Wake, The Wake, The Wake.
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.