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 Calgary.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Delhi 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 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 New Order 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 The Move. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Gang of Four,
The Detroit Cobras,
Ultimate Spinach,
La Düsseldorf,
Bobby Byrd,
The Victims,
Mr. Review,
Piero Umiliani,
Joe Smooth,
Vainqueur,
The Pop Group,
Orchestral Manoeuvres in the Dark,
The Dead C,
Lonnie Liston Smith,
Newcleus,
Lungfish,
Magma,
Bobbi Humphrey,
Bootsy's Rubber Band,
Frankie Knuckles,
Blancmange,
Kas Product,
Rhythim Is Rhythim,
The Zeros,
Theoretical Girls,
Flash Fearless,
Barrington Levy,
Janne Schatter,
Dark Day,
Kevin Saunderson,
Tres Demented,
Suburban Knight,
New York Dolls,
Youth Brigade,
Sexual Harrassment,
Country Teasers,
Soft Cell,
Deepchord,
The Sonics,
Bush Tetras,
Country Joe & The Fish,
Selector Dub Narcotic,
Circle Jerks,
Sonic Youth,
Echo & the Bunnymen,
The Neon Judgement,
The Slackers,
The Cramps,
The Evens,
John Cale,
The Wake,
Visage,
K-Klass,
Angry Samoans,
Bluetip,
Minor Threat,
The Divine Comedy,
Cal Tjader,
London Community Gospel Choir,
X-Ray Spex,
Underground Resistance,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.