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 Mongolia and from Bologna.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Agent Orange to the electroclash 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 Lou Christie. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal punk 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
The Neon Judgement,
Pet Shop Boys,
Country Teasers,
CMW,
Crooked Eye,
X-101,
Buzzcocks,
Spandau Ballet,
Dorothy Ashby,
Black Flag,
Nation of Ulysses,
Pantytec,
Skaos,
Fear,
Toni Rubio,
Minutemen,
Reagan Youth,
EPMD,
New York Dolls,
Max Romeo,
The Fuzztones,
Icehouse,
Fat Boys,
Khruangbin,
Black Sheep,
Joe Smooth,
Ossler,
Ultimate Spinach,
The Alarm Clocks,
The United States of America,
Avey Tare & Kría Brekkan,
The West Coast Pop Art Experimental Band,
Drive Like Jehu,
Bobbi Humphrey,
Make Up,
Matthew Bourne,
Thee Headcoats,
Albert Ayler,
Pole,
Black Moon,
Rekid,
Cal Tjader,
Sugar Minott,
The Doors,
Con Funk Shun,
Judy Mowatt,
Visionaries,LMNO, T- Love & Iriscience,
a-ha,
Nirvana,
Ken Boothe,
Cameo,
Zero Boys,
Bobby Sherman,
Mandrill,
Captain Beefheart & His Magic Band,
Flipper,
A Certain Ratio,
Byron Stingily,
In Retrospect,
Ronan,
John Foxx,
Quantec, Quantec, Quantec, Quantec.
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.