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 Honduras and from Stockholm.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Seoul 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Juan Atkins to the dance 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 T. Rex. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Bad Manners,
Larry & the Blue Notes,
Eddi Front,
Teenage Jesus and the Jerks,
The Associates,
Amon Düül II,
Sällskapet,
Soul Sonic Force,
Rhythm & Sound,
Agent Orange,
Donny Hathaway,
the Germs,
Brick,
Eve St. Jones,
Stetsasonic,
Peter & Gordon,
Agitation Free,
Moby Grape,
The Slackers,
Todd Rundgren,
Anakelly,
Freddie Wadling,
Marcia Griffiths,
Gang Green,
Black Bananas,
Dorothy Ashby,
The Cowsills,
Gang of Four,
Gabor Szabo,
The Neon Judgement,
Reuben Wilson,
Scott Walker,
Eden Ahbez,
Liaisons Dangereuses,
Cymande,
Ponytail,
Young Marble Giants,
Boredoms,
Oppenheimer Analysis,
Absolute Body Control,
Buzzcocks,
Graham Central Station,
Pet Shop Boys,
Qualms,
Sly & The Family Stone,
Kerri Chandler,
Pere Ubu,
MDC,
Strawberry Alarm Clock,
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Andrew Hill,
Joey Negro,
Vaughan Mason & Crew,
Country Teasers,
Television Personalities,
Yellowson,
The Seeds,
The Fall,
F. McDonald,
Ohio Players,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.