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 Guatemala and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Mary Jane Girls to the grunge kids.
I played it at the Hacienda.
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 Dave Gahan. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Marcia Griffiths 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 '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Main Source,
The Associates,
Country Joe & The Fish,
Con Funk Shun,
Pere Ubu,
Funky Four + One,
Bang on a Can All-Stars,
Deakin,
Das Ding,
The Count Five,
Make Up,
Slick Rick,
Blossom Toes,
D'Angelo,
Jerry Gold Smith,
The Mighty Diamonds,
Harmonia,
Kerri Chandler,
Rapeman,
Minny Pops,
Reagan Youth,
James White and The Blacks,
Barclay James Harvest,
the Sonics,
T. Rex,
Siglo XX,
Eric Dolphy,
Clear Light,
These Immortal Souls,
the Swans,
John Foxx,
Yellowson,
PIL,
Andrew Ashong & Theo Parrish,
Laurel Aitken,
Reuben Wilson,
The Sound,
Lizzy Mercier Descloux,
Man Eating Sloth,
Man Parrish,
Oneida,
Rhythim Is Rhythim,
The Stooges,
Sun Ra,
U.S. Maple,
Fela Kuti,
Brass Construction,
Altered Images,
Young Marble Giants,
Camberwell Now,
The Evens,
Louis and Bebe Barron,
David Bowie,
Livin' Joy,
a-ha,
Boredoms,
Toni Rubio,
Eve St. Jones,
Glenn Branca,
Lyres, Lyres, Lyres, Lyres.
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.