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 Spain and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Glasgow 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 Tim Buckley to the techno kids.
I played it at the 40 Watt.
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 Stockholm Monsters. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Bootsy Collins,
Sun City Girls,
Kurtis Blow,
Sex Pistols,
Rakim,
Cymande,
The Chocolate Watch Band,
The Young Rascals,
Crispy Ambulance,
Stereo Dub,
The Leaves,
The Mighty Diamonds,
Deadbeat,
Nico,
Eric Copeland,
The Cure,
Wighnomy Brothers & Robag Wruhme,
Chris Corsano,
Zapp,
Patti Smith,
Dark Day,
The Alarm Clocks,
Depeche Mode,
Archie Shepp,
Chrome,
MC5,
Camron Feat. Jay Z And Juelz,
Mars,
The United States of America,
The Searchers,
Skarface,
The Dave Clark Five,
Gang of Four,
Terry Callier,
Marine Girls,
Au Pairs,
Soulsonic Force,
Justin Hinds & The Dominoes,
The Index,
The Move,
Visage,
Bob Dylan,
Cameo,
Sticky Fingaz feat. Raekwon,
Gastr Del Sol,
Traffic Nightmare,
Wings,
The Offenders,
Beasts of Bourbon,
AZ,
Sparks,
Art Ensemble Of Chicago,
The Invisible,
Jimmy McGriff,
the Bar-Kays,
Man Eating Sloth,
Throbbing Gristle,
New York Dolls,
Banda Bassotti,
Gong,
the Slits,
John Holt, John Holt, John Holt, John Holt.
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.