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 Tajikistan and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Milan 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 mellotron 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 Brass Construction to the rap kids.
I played it at the Crocodile.
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 Rakim. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The Associates,
Loose Ends,
Kings Of Tomorrow,
Visage,
Can,
Sunsets and Hearts,
The Leaves,
the Germs,
Aural Exciters,
The Five Americans,
Bill Near,
Smog,
Bluetip,
Tom Boy,
Ohio Players,
Aloha Tigers,
Camberwell Now,
Section 25,
Rhythm & Sound,
Man Eating Sloth,
Rakim,
Fad Gadget,
Aswad,
Faraquet,
Crime,
U.S. Maple,
Mars,
Public Image Ltd.,
The Detroit Cobras,
Bobby Byrd,
Essential Logic,
Bobby Womack,
Minutemen,
Babytalk,
ABBA,
Harmonia,
Flamin' Groovies,
Terry Callier,
Mark Hollis,
Cameo,
Unwound,
London Community Gospel Choir,
Cluster,
Sam Rivers,
John Coltrane,
The Slits,
David Bowie,
Amon Düül II,
Terrestrial Tones,
Sonic Youth,
Oppenheimer Analysis,
Max Romeo,
Icehouse,
The Selecter,
Matthew Bourne,
Organ,
The Blues Magoos,
Barry Ungar,
Minny Pops,
Michelle Simonal,
Mr. Review,
UT,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.