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 Tunisia and from Philadelphia.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Wire to the punk kids.
I played it at the Spitz.
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 Fortunes. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly 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?
Eyeless In Gaza,
Public Enemy,
Matthew Bourne,
Skriet,
Half Japanese,
Blancmange,
Ossler,
Black Moon,
Juan Atkins,
The Selecter,
X-Ray Spex,
Rod Modell,
Henry Cow,
Blossom Toes,
The Red Krayola,
Dead Boys,
Matthew Halsall,
Black Flag,
Pantytec,
Dave Gahan,
Shoche,
Electric Prunes,
Can,
DeepChord presents Echospace,
Althea and Donna,
The Standells,
Minor Threat,
Altered Images,
Joe Smooth,
Toni Rubio,
The Techniques,
Country Teasers,
Aswad,
Fad Gadget,
Gang Green,
PIL,
David Bowie,
The Smiths,
Gil Scott-Heron & Brian Jackson,
Gary Puckett & The Union Gap,
Negative Approach,
Barclay James Harvest,
ABC,
Cabaret Voltaire,
John Coltrane,
The Vogues,
Deadbeat,
The Last Poets,
Rhythim Is Rhythim,
June Days,
Heaven 17,
Heavy D & The Boyz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantaleimon,
Bauhaus,
Television,
Soft Machine,
Graham Central Station,
the Fania All-Stars,
Beasts of Bourbon,
Kerrie Biddell,
The Grass Roots,
Whodini,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.