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 Congo and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Taipei 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 808 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 Brick to the electroclash 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 Moby Grape. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
The Moody Blues,
Spandau Ballet,
The Pretty Things,
Davy DMX,
Anthony Braxton,
Amon Düül,
The Cramps,
Wasted Youth,
Rhythim Is Rhythim,
Kas Product,
Sonic Youth,
Black Pus,
Prince Buster,
Dual Sessions,
Ten City,
Q and Not U,
Howard Jones,
Morten Harket,
Eric Copeland,
Banda Bassotti,
Duran Duran,
The Stooges,
Mr. Review,
Sam Rivers,
Anakelly,
Ultimate Spinach,
Tubeway Army,
T.S.O.L.,
Roxette,
Dawn Penn,
Ash Ra Tempel,
Juan Atkins,
Barrington Levy,
Bootsy Collins,
Ultra Naté,
Toni Rubio,
Agent Orange,
The American Breed,
T. Rex,
Mandrill,
Lakeside,
Monks,
The Sound,
The Count Five,
MC5,
the Association,
Jandek,
Fifty Foot Hose,
Fela Kuti,
Shoche,
X-Ray Spex,
Wings,
The Angels of Light,
Aloha Tigers,
cv313,
John Lydon,
Public Image Ltd.,
Eric B and Rakim,
Suicide,
Orchestral Manoeuvres in the Dark,
Jeff Mills,
Larry & the Blue Notes,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.