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 Ghana and from Winnipeg.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar 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 Traffic Nightmare to the jazz 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 Adolescents. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Wasted Youth 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 '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Peter Gordon & Love of Life Orchestra,
Dual Sessions,
The Cramps,
Kool Moe Dee,
Cheater Slicks,
Depeche Mode,
Electric Light Orchestra,
Monks,
Swans,
The Music Machine,
MC5,
The Index,
Babytalk,
FM Einheit,
the Soft Cell,
Traffic Nightmare,
Ultramagnetic MC's,
The Human League,
Vaughan Mason & Crew,
The Durutti Column,
Funkadelic,
Eden Ahbez,
Stiv Bators,
The Smiths,
Big Daddy Kane,
Arcadia,
The American Breed,
Girls At Our Best!,
Gerry Rafferty,
Royal Trux,
MDC,
The Happenings,
Amon Düül,
Delta 5,
ABBA,
Lalo Schifrin,
Anthony Braxton,
Sun Ra Arkestra,
Fort Wilson Riot,
Lindisfarne,
Outsiders,
Richard Hell and the Voidoids,
Bad Manners,
Toni Rubio,
Tomorrow,
The Five Americans,
8 Eyed Spy,
John Coltrane,
The Fire Engines,
The Royal Family And The Poor,
Magma,
Spandau Ballet,
The Toasters,
Gang Gang Dance,
Clear Light,
Godley & Creme,
The Mighty Diamonds,
Severed Heads,
Minutemen,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.