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 Vanuatu and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Halifax.
I'm losing my edge to the art-school Bremen 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Smog to the rock kids.
I played it at CBGB's.
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 Detroit Cobras. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Flipper,
Kaleidoscope,
Donny Hathaway,
Unwound,
Albert Ayler,
Laurel Aitken,
The Sound,
James White and The Blacks,
Throbbing Gristle,
Crime,
Gil Scott Heron,
London Community Gospel Choir,
Todd Rundgren,
Stereo Dub,
Bizarre Inc.,
Fifty Foot Hose,
the Fania All-Stars,
Sonny Sharrock,
Anthony Braxton,
Black Pus,
Outsiders,
Saccharine Trust,
KRS-One,
The New Christs,
Guru Guru,
The Knickerbockers,
World's Most,
Art Ensemble Of Chicago,
Scratch Acid,
Hardrive,
Mr. Review,
Derrick Morgan,
Boredoms,
Minutemen,
Susan Cadogan,
K-Klass,
The Residents,
The Count Five,
Masters at Work,
Public Enemy,
Sex Pistols,
Moss Icon,
Siglo XX,
Kool G Rap & DJ Polo,
June Days,
Deutsch Amerikanische Freundschaft,
Silicon Teens,
Simply Red,
Zapp,
Sam Rivers,
Royal Trux,
CMW,
The Detroit Cobras,
Lindisfarne,
Cal Tjader,
Intrusion,
Tommy Roe,
Byron Stingily,
The Beau Brummels,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.