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 Turkey and from Toronto.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Ituana to the electroclash kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Lower 48,
Barrington Levy,
Public Image Ltd.,
Deakin,
The Star Department,
Masters at Work,
Jawbox,
Subhumans,
the Normal,
Dr. Dre and Snoop Doggy Dog,
Yusef Lateef,
Dawn Penn,
Bill Near,
Essential Logic,
John Coltrane,
Adolescents,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
Swans,
Babytalk,
Hoover,
Black Bananas,
Mission of Burma,
The Beau Brummels,
Infiniti,
Johnny Clarke,
Japan,
the Swans,
The Smoke,
Godley & Creme,
La Düsseldorf,
Gerry Rafferty,
Mark Hollis,
Marvin Gaye,
Nik Kershaw,
Rufus Thomas,
The Litter,
Toni Rubio,
Agitation Free,
Art Ensemble Of Chicago,
The Blues Magoos,
Delon & Dalcan,
Circle Jerks,
Leonard Cohen,
Marshall Jefferson,
The Victims,
Q65,
Bronski Beat,
Gary Puckett & The Union Gap,
Average White Band,
Soft Cell,
Aswad,
The Cure,
Cybotron,
Sugar Minott,
The Moody Blues,
Lakeside,
Pantaleimon,
Excepter, Excepter, Excepter, Excepter.
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.