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 Burkina and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Boredoms to the disco kids.
I played it at Cafe Wha.
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 Louis and Bebe Barron. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
T.S.O.L.,
Delta 5,
Sonic Youth,
Mr. Review,
the Sonics,
Main Source,
Suburban Knight,
X-102,
DJ Style,
The Misunderstood,
Scratch Acid,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
Cabaret Voltaire,
Crispy Ambulance,
Wighnomy Brothers & Robag Wruhme,
The Smiths,
Tears for Fears,
Pantytec,
Morten Harket,
Gerry Rafferty,
Pylon,
Man Eating Sloth,
New Order,
John Cale,
Grandmaster Flash and the Furious Five,
Procol Harum,
The Names,
Niagra,
Alison Limerick,
Index,
Leonard Cohen,
Frankie Knuckles,
Charles Mingus,
Essential Logic,
The Chocolate Watch Band,
Shuggie Otis,
Absolute Body Control,
The Leaves,
Dawn Penn,
Angry Samoans,
U.S. Maple,
The Happenings,
Warren Ellis,
The Searchers,
The Sisters of Mercy,
Kenny Larkin,
Fifty Foot Hose,
Intrusion,
Half Japanese,
Dual Sessions,
Stereo Dub,
Bootsy Collins,
The Young Rascals,
Stiv Bators,
The Vogues,
Bang On A Can,
Al Stewart,
The Kinks,
Avey Tare's Slasher Flicks,
Smog, Smog, Smog, Smog.
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.