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 Liberia and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Throbbing Gristle to the rap kids.
I played it at Cafe Wha.
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 Alice Coltrane. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Lee Hazlewood 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Quantec,
Avey Tare & Kría Brekkan,
Bush Tetras,
Buzzcocks,
The Sonics,
Tomorrow,
Aural Exciters,
Moebius,
Bootsy's Rubber Band,
Robert Hood,
Deutsch Amerikanische Freundschaft,
Jerry's Kids,
Sound Behaviour,
Cabaret Voltaire,
Moby Grape,
The Zeros,
Derrick Morgan,
Nation of Ulysses,
Kango’s Stein Massive,
Dead Boys,
Susan Cadogan,
Gary Puckett & The Union Gap,
Mission of Burma,
Kas Product,
Pierre Henry,
Fear,
FM Einheit,
The Mojo Men,
Patti Smith,
Boredoms,
Mandrill,
Rhythm & Sound,
Bobby Sherman,
Crash Course in Science,
Subhumans,
Robert Görl,
Ash Ra Tempel,
John Lydon,
Jimmy McGriff,
Sad Lovers and Giants,
Prince Buster,
Ralphi Rosario,
Supertramp,
Man Parrish,
Jerry Gold Smith,
Eve St. Jones,
The Names,
Amon Düül,
Todd Rundgren,
Procol Harum,
Guru Guru,
Royal Trux,
Talk Talk,
Avey Tare,
Marshall Jefferson,
The Fall,
Fat Boys,
the Human League,
Lalo Schifrin,
Lightning Bolt,
Grauzone,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.