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 Cameroon and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1973.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Milan 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 rhodes 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 David Axelrod to the rap 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 Amazonics. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Minor Threat,
the Swans,
Khruangbin,
Animal Collective,
Spoonie Gee,
Yazoo,
Urselle,
Cecil Taylor,
Kool Moe Dee,
Pantaleimon,
The Gories,
The Slackers,
Country Joe & The Fish,
Q and Not U,
Cabaret Voltaire,
The Saints,
Vladislav Delay,
The Moleskins,
Donny Hathaway,
Aaron Thompson,
Fifty Foot Hose,
Rakim,
Gastr Del Sol,
The Beau Brummels,
Crash Course in Science,
Mission of Burma,
Marcia Griffiths,
The Cramps,
Larry & the Blue Notes,
Jandek,
The United States of America,
Babytalk,
Sarah Menescal,
Yellowson,
Sound Behaviour,
Minny Pops,
Sandy B,
Quando Quango,
Deepchord,
The American Breed,
Flamin' Groovies,
Camouflage,
Dorothy Ashby,
The Knickerbockers,
Spandau Ballet,
Ronan,
Lizzy Mercier Descloux,
Symarip,
Lakeside,
Interpol,
Fort Wilson Riot,
Ludus,
Trumans Water,
The New Christs,
Bush Tetras,
The Fuzztones,
Bootsy Collins,
Magma,
The Cosmic Jokers,
Cal Tjader,
Eli Mardock,
The Royal Family And The Poor,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.