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 Liberia and from Cairo.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Glasgow 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 The Durutti Column to the electroclash kids.
I played it at the Spitz.
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 Motions. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Lakeside 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Susan Cadogan,
Isaac Hayes,
Ornette Coleman,
Television,
The Five Americans,
Underground Resistance,
Rekid,
Dead Boys,
John Lydon,
Robert Wyatt,
Danielle Patucci,
Crispian St. Peters,
Arcadia,
Deakin,
Index,
Bang On A Can,
Harpers Bizarre,
Howard Jones,
Rites of Spring,
Inner City,
Smog,
Cymande,
Lizzy Mercier Descloux,
Supertramp,
Infiniti,
Lindisfarne,
The Red Krayola,
ABBA,
Avey Tare & Kría Brekkan,
The Fall,
The New Christs,
Harmonia,
Wasted Youth,
Royal Trux,
Gabor Szabo,
Tears for Fears,
Radiohead,
Stockholm Monsters,
Easy Going,
Terry Callier,
Notorious Big And Bone Thugs,
Marshall Jefferson,
Motorama,
Bobby Sherman,
The Fugs,
Spandau Ballet,
Young Marble Giants,
Joy Division,
Thee Headcoats,
Minnie Riperton,
Gong,
Shoche,
Heavy D & The Boyz,
Quantec,
H. Thieme,
The Selecter,
Glenn Branca,
Mantronix,
China Crisis,
Average White Band,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.