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 Jamaica and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and Halifax.
I'm losing my edge to the art-school Toronto 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 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the grime kids.
I played it at Trash.
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 Grandmaster Flash. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Agitation Free,
The Peanut Butter Conspiracy,
Echo & the Bunnymen,
Quantec,
the Slits,
Black Sheep,
Surgeon,
Unwound,
Faraquet,
Yusef Lateef,
Simply Red,
Terry Callier,
Sister Nancy,
Todd Rundgren,
This Heat,
E-Dancer,
The Gladiators,
Kayak,
Reagan Youth,
Chrome,
Model 500,
Magma,
Magazine,
New York Dolls,
Accadde A,
Röyhkä ja Rättö ja Lehtisalo,
The New Christs,
Grandmaster Flash,
The Tremeloes,
The Fall,
Easy Going,
Angry Samoans,
Guru Guru,
The Fire Engines,
Johnny Osbourne,
Gerry Rafferty,
Bobby Sherman,
The American Breed,
Bush Tetras,
Brand Nubian,
Beasts of Bourbon,
Gong,
Marc Romboy vs. Booka Shade,
Michelle Simonal,
Marshall Jefferson,
Moss Icon,
Public Image Ltd.,
cv313,
Avey Tare's Slasher Flicks,
The J.B.'s,
Kerrie Biddell,
Freddie Wadling,
Minutemen,
The Dave Clark Five,
Joe Smooth,
The Seeds,
Kevin Saunderson,
Country Joe & The Fish,
Skarface,
Quando Quango,
The Sound,
Byron Stingily,
Flipper,
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.