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 Egypt and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Royal Family And The Poor to the grime kids.
I played it at the Troubador.
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 Ten City. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
The Dirtbombs,
MC5,
Little Man,
The Alarm Clocks,
Blossom Toes,
Ituana,
The Toasters,
Monolake,
Harmonia,
Main Source,
Stereo Dub,
Heavy D & The Boyz,
Qualms,
Los Fastidios,
Basic Channel,
Television Personalities,
John Cale,
Jeff Lynne,
Procol Harum,
the Slits,
kango's stein massive,
Gil Scott Heron,
Spandau Ballet,
Chris & Cosey,
Smog,
Adolescents,
Intrusion,
The Tremeloes,
Stetsasonic,
Quando Quango,
Wolf Eyes,
Unwound,
Lou Reed & John Cale,
Tim Buckley,
Ornette Coleman,
Gary Puckett & The Union Gap,
Oppenheimer Analysis,
Tubeway Army,
Bauhaus,
Andrew Hill,
David Axelrod,
Max Romeo,
the Association,
Black Sheep,
Pussy Galore,
Au Pairs,
Sister Nancy,
Technova,
Mr. Review,
Thee Headcoats,
Fluxion,
Pylon,
Alice Coltrane,
Eric Copeland,
Deakin,
Bobby Hutcherson,
Rufus Thomas,
8 Eyed Spy,
The Blues Magoos,
Schoolly D,
Mark Hollis,
The Associates, The Associates, The Associates, The Associates.
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.