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 Comoros and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school London 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 güiro 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 Terror Squad Feat. Camron to the funk kids.
I played it at the Crocodile.
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 Deakin. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every T. Rex 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
48th St. Collective,
Technova,
The Standells,
Peter and Kerry,
The Modern Lovers,
Yaz,
Ash Ra Tempel,
Outsiders,
Dead Boys,
Jacob Miller,
The Mojo Men,
The Sonics,
Red Lorry Yellow Lorry,
Cymande,
The Slits,
X-Ray Spex,
Flamin' Groovies,
Alison Limerick,
Mantronix,
The Monks,
Sound Behaviour,
Gregory Isaacs,
Terry Callier,
Shoche,
The Grass Roots,
Young Marble Giants,
Kaleidoscope,
ABBA,
Howard Jones,
Juan Atkins,
Robert Wyatt,
Liaisons Dangereuses,
Neu!,
Graham Central Station,
Drive Like Jehu,
Pole,
Reuben Wilson,
Delta 5,
The Monochrome Set,
Soft Machine,
The Victims,
Marvin Gaye,
The Neon Judgement,
Glambeats Corp.,
Joensuu 1685,
Jawbox,
Zapp,
The Mummies,
The Black Dice,
Con Funk Shun,
MC5,
Sparks,
Nirvana,
Rowland S Howard / Lydia Lunch,
Fatback Band,
Blake Baxter,
Joyce Sims,
the Human League,
Quantec,
Hardrive, Hardrive, Hardrive, Hardrive.
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.