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 Mauritania and from Lille.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Steve Hackett to the grime kids.
I played it at the Astoria.
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 Aaron Thompson. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Oblivians,
Magma,
Intrusion,
The Mummies,
Ultramagnetic MC's,
Archie Shepp,
Roy Ayers,
Vladislav Delay,
Terror Squad Feat. Camron,
Theoretical Girls,
Jeff Mills,
Cymande,
Average White Band,
Soul II Soul,
Brass Construction,
Ash Ra Tempel,
Bronski Beat,
Sexual Harrassment,
Fear,
The Sisters of Mercy,
The Busters,
Lower 48,
The Happenings,
Tropical Tobacco,
Siouxsie and the Banshees,
Aural Exciters,
Inner City,
Desert Stars,
Joey Negro,
Sun Ra Arkestra,
Peter & Gordon,
Arcadia,
Jesper Dahlbäck,
DJ Sneak,
The Gladiators,
Kurtis Blow,
The Cowsills,
Smog,
Maurizio,
Darondo,
Grandmaster Flash and the Furious Five,
Marcia Griffiths,
DeepChord presents Echospace,
The Durutti Column,
Camberwell Now,
Soft Machine,
Joe Finger,
Liaisons Dangereuses,
Underground Resistance,
Lucky Dragons,
Icehouse,
New Age Steppers,
Ultravox,
Ken Boothe,
The Real Kids,
KRS-One,
H. Thieme,
Scott Walker,
Joe Smooth,
Matthew Bourne,
Prince Buster,
Rekid, Rekid, Rekid, Rekid.
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.