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 Monaco and from Milan.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 Marc Almond to the rap kids.
I played it at the Spitz.
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 The Kinks. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Clear Light,
Soft Cell,
the Association,
The Real Kids,
In Retrospect,
Max Romeo,
Flamin' Groovies,
The Saints,
Pet Shop Boys,
X-101,
Whodini,
Malaria!,
Ludus,
DNA,
Bootsy Collins,
JFA,
Althea and Donna,
Sex Pistols,
Barrington Levy,
Ultravox,
Masters at Work,
F. McDonald,
48th St. Collective,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Remains,
Main Source,
Los Fastidios,
June Days,
Super Lover Cee & Casanova Rud,
Quando Quango,
The Busters,
Moby Grape,
Thompson Twins,
The Wake,
Maleditus Sound,
Shuggie Otis,
John Lydon,
Mr. Review,
New Age Steppers,
Boz Scaggs,
David Bowie,
Barry Ungar,
The J.B.'s,
Eli Mardock,
Echospace,
Marshall Jefferson,
Swans,
Chris & Cosey,
David Axelrod,
Deutsch Amerikanische Freundschaft,
the Germs,
Pussy Galore,
This Heat,
Sexual Harrassment,
The Cure,
Pulsallama,
Camouflage,
Liaisons Dangereuses,
Wighnomy Brothers & Robag Wruhme,
Soul Sonic Force,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.