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 Sierra Leone and from Manila.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 808 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 Siouxsie and the Banshees to the punk 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 Marmalade. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Electric Prunes,
Justin Hinds & The Dominoes,
Tears for Fears,
Tomorrow,
A Flock of Seagulls,
Model 500,
Blake Baxter,
Rowland S Howard / Lydia Lunch,
Godley & Creme,
PIL,
Metal Thangz,
Cheater Slicks,
The Associates,
Desert Stars,
Susan Cadogan,
The Pop Group,
Sun City Girls,
The Skatalites,
The Wake,
Delon & Dalcan,
James Chance & The Contortions,
Rufus Thomas,
Swell Maps,
Second Layer,
Larry & the Blue Notes,
The Dave Clark Five,
Dorothy Ashby,
Hasil Adkins,
Bobbi Humphrey,
Althea and Donna,
Prince Buster,
Dead Boys,
the Sonics,
Qualms,
Soft Machine,
The Doobie Brothers,
Bluetip,
One Last Wish,
Rod Modell,
Ultravox,
Silicon Teens,
AZ,
DJ Style,
The Busters,
Sparks,
Oppenheimer Analysis,
Duran Duran,
Ken Boothe,
Eli Mardock,
Echospace,
Mo-Dettes,
Siglo XX,
Lou Reed,
Mad Mike,
Nik Kershaw,
Ultimate Spinach,
Cluster,
The Modern Lovers,
Brick,
Carl Craig,
Skaos, Skaos, Skaos, Skaos.
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.