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 Zimbabwe and from Columbus.
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 1970.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Pretty Things to the disco 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 Skarface. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
CMW,
Mandrill,
Lou Reed & Metallica,
Electric Prunes,
Brick,
Drive Like Jehu,
Negative Approach,
the Association,
The Zeros,
8 Eyed Spy,
Roy Ayers,
De La Soul & Jungle Brothers,
The Fugs,
The Golliwogs,
Kaleidoscope,
Moss Icon,
Arthur Verocai,
Sister Nancy,
the Swans,
The Trojans,
Kango’s Stein Massive,
Fugazi,
Lebanon Hanover,
Skaos,
Ituana,
Gil Scott-Heron & Brian Jackson,
Television Personalities,
Animal Collective,
Model 500,
Qualms,
Gary Puckett & The Union Gap,
Stockholm Monsters,
Underground Resistance,
Deakin,
The Sound,
The Tremeloes,
10cc,
Altered Images,
Wolf Eyes,
Sound Behaviour,
Lee Hazlewood,
The Standells,
L. Decosne,
Newcleus,
Harmonia,
Khruangbin,
The American Breed,
Brothers Johnson,
Davy DMX,
Kings Of Tomorrow,
Rotary Connection,
Spandau Ballet,
Warsaw,
Kerri Chandler,
In Retrospect,
The United States of America,
Rapeman,
Stiv Bators,
Gichy Dan,
48th St. Collective,
The Angels of Light,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.