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 Guinea 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 1965 to 1976.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Woodstock 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron 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 Schoolly D to the electroclash 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 The Music Machine. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Babytalk,
Orchestral Manoeuvres in the Dark,
Delta 5,
Sarah Menescal,
Sexual Harrassment,
The Happenings,
Nick Fraelich,
Flamin' Groovies,
The Residents,
Adolescents,
Pete Rock & C.L. Smooth,
Deakin,
Model 500,
Terror Squad Feat. Camron,
Graham Central Station,
Michelle Simonal,
Sonic Youth,
Saccharine Trust,
Agent Orange,
DeepChord presents Echospace,
Ossler,
Bobby Byrd,
Lalo Schifrin,
X-102,
The Shadows of Knight,
Chrome,
Terry Callier,
Ten City,
Reagan Youth,
Mantronix,
Peter & Gordon,
Jeru the Damaja,
Kerri Chandler,
Brand Nubian,
Davy DMX,
Crime,
Khruangbin,
The Mummies,
Swans,
Newcleus,
The Moody Blues,
Ajijia Myrayebe,
Pussy Galore,
Kings Of Tomorrow,
Black Moon,
John Foxx,
Radio Birdman,
Lyres,
Strawberry Alarm Clock,
Todd Rundgren,
The Flesh Eaters,
Faraquet,
Tres Demented,
Susan Cadogan,
Average White Band,
Grandmaster Flash,
Roxy Music,
Fifty Foot Hose,
Make Up,
Eli Mardock,
The Move, The Move, The Move, The Move.
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.