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 Portugal and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1974.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 punk 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 The J.B.'s. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Basic Channel,
Ponytail,
New Order,
Sly & The Family Stone,
Eric B and Rakim,
Bob Dylan,
The Fugs,
Faraquet,
Ash Ra Tempel,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Kas Product,
Lucky Dragons,
Kool Moe Dee,
Kool G Rap & DJ Polo,
Negative Approach,
Young Marble Giants,
Alton Ellis,
Peter Gordon & Love of Life Orchestra,
10cc,
The Five Americans,
Barry Ungar,
Jerry's Kids,
Delon & Dalcan,
Jacques Brel,
Moby Grape,
The Evens,
Lee Hazlewood,
Minor Threat,
Banda Bassotti,
PIL,
The Walker Brothers,
Intrusion,
Warsaw,
Pylon,
John Cale,
The Mummies,
Brick,
Danielle Patucci,
Sixth Finger,
Matthew Halsall,
The Pop Group,
Tears for Fears,
Chris & Cosey,
Lou Reed & John Cale,
a-ha,
Wire,
The Blues Magoos,
Sonic Youth,
Pagans,
Terrestrial Tones,
Juan Atkins,
The Star Department,
Jeff Lynne,
Chrome,
48th St. Collective,
Marine Girls,
Section 25,
Rowland S Howard / Lydia Lunch,
World's Most,
KRS-One, KRS-One, KRS-One, KRS-One.
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.