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 Oman and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1979.
I'm losing my edge.
To all the kids in Lagos and Lille.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Smog to the disco 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 Black Moon. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Unwound,
Intrusion,
Lou Christie,
Reuben Wilson,
Rhythm & Sound,
Maurizio,
DJ Style,
The Cosmic Jokers,
Minor Threat,
the Bar-Kays,
Johnny Clarke,
Hot Snakes,
Absolute Body Control,
Marmalade,
Bootsy Collins,
Cymande,
Section 25,
Sticky Fingaz feat. Raekwon,
Lebanon Hanover,
Ossler,
Alice Coltrane,
De La Soul & Jungle Brothers,
Sandy B,
T.S.O.L.,
Derrick May,
John Coltrane,
The Mummies,
Arthur Verocai,
Echospace,
Parry Music,
Little Man,
Louis and Bebe Barron,
Heaven 17,
Ten City,
Patti Smith,
Terry Callier,
Grauzone,
Agitation Free,
the Slits,
Los Fastidios,
Flamin' Groovies,
Kayak,
Robert Wyatt,
Jesper Dahlbäck,
Gregory Isaacs,
the Human League,
Black Sheep,
Henry Cow,
The Litter,
The Buckinghams,
Fatback Band,
the Sonics,
Bluetip,
Scott Walker + Sunn O))),
Audionom,
Nation of Ulysses,
Notorious BIG live in Amsterdam,
Fat Boys,
Stockholm Monsters,
Scratch Acid,
Young Marble Giants,
Boz Scaggs,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.