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 Norway and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school New York 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Dead Boys to the funk kids.
I played it at the Roxy.
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 Reagan Youth. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal funk 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 a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Yaz,
The Kinks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tubeway Army,
Grauzone,
The Moody Blues,
Josef K,
Altered Images,
Crime,
Robert Wyatt,
China Crisis,
Ronan,
Minor Threat,
UT,
Strawberry Alarm Clock,
Deadbeat,
Eden Ahbez,
John Foxx,
Outsiders,
Lightning Bolt,
Flipper,
Beasts of Bourbon,
X-Ray Spex,
Nico,
Audionom,
B.T. Express,
Model 500,
Stereo Dub,
Jimmy McGriff,
Pere Ubu,
Jeff Lynne,
Electric Light Orchestra,
Blossom Toes,
Maurizio,
Junior Murvin,
Bobby Byrd,
The Blackbyrds,
Rites of Spring,
The Alarm Clocks,
Glenn Branca,
Grandmaster Flash and the Furious Five,
The Offenders,
Severed Heads,
Marine Girls,
The Wake,
Lizzy Mercier Descloux,
T. Rex,
Ultravox,
Crispian St. Peters,
The Cosmic Jokers,
Gregory Isaacs,
Marmalade,
The Angels of Light,
Arthur Verocai,
Sonny Sharrock,
Siglo XX,
The Litter,
Fat Boys,
Bill Wells,
Oneida, Oneida, Oneida, Oneida.
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.