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 Laos and from Salvador.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Susan Cadogan to the crunk 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 Steve Hackett. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
The Music Machine,
Kayak,
Oblivians,
Davy DMX,
Sam Rivers,
Ponytail,
Gichy Dan,
Lebanon Hanover,
Chris & Cosey,
Von Mondo,
CMW,
James White and The Blacks,
Eli Mardock,
Eurythmics,
Yellowson,
Hardrive,
OOIOO,
Public Enemy,
Pagans,
Pole,
The Saints,
Camouflage,
Heaven 17,
Fifty Foot Hose,
cv313,
Patti Smith,
Carl Craig,
Metal Thangz,
Duran Duran,
The Happenings,
The Black Dice,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
Monolake,
Bobby Hutcherson,
Monks,
Talk Talk,
Eden Ahbez,
The Smoke,
Spoonie Gee,
Nils Olav,
Nation of Ulysses,
Ronnie Foster,
Supertramp,
Art Ensemble Of Chicago,
Orchestral Manoeuvres in the Dark,
L. Decosne,
Joy Division,
ABBA,
Subhumans,
Archie Shepp,
Cal Tjader,
Gastr Del Sol,
The Selecter,
Tommy Roe,
Interpol,
Nick Cave & The Bad Seeds,
Freddie Wadling,
the Association,
Jerry Gold Smith,
Quadrant, Quadrant, Quadrant, Quadrant.
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.