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 Azerbaijan and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Paris and Madrid.
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 mellotron 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 Slave to the crunk 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 Dark Day. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rock 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Count Five,
Michelle Simonal,
Camouflage,
Ultravox,
Little Man,
The Detroit Cobras,
B.T. Express,
Sun Ra Arkestra,
Rites of Spring,
Throbbing Gristle,
Icehouse,
Joyce Sims,
Gang Green,
Negative Approach,
Harry Pussy,
kango's stein massive,
DJ Style,
The Cure,
cv313,
Monks,
Swans,
Anakelly,
Major Organ And The Adding Machine,
Janne Schatter,
Morten Harket,
Delon & Dalcan,
Barry Ungar,
DeepChord presents Echospace,
Funky Four + One,
Jeru the Damaja,
MC5,
Audionom,
Agitation Free,
Nas,
New York Dolls,
Radiopuhelimet,
Second Layer,
The Red Krayola,
Scion,
The Evens,
Sly & The Family Stone,
Public Enemy,
The Cowsills,
Marc Almond,
A Flock of Seagulls,
Kerri Chandler,
Echospace,
Heaven 17,
Reagan Youth,
Minor Threat,
The Leaves,
Supertramp,
Tres Demented,
Godley & Creme,
Aaron Thompson,
John Holt,
L. Decosne,
Pussy Galore,
Charles Mingus,
Can,
Reuben Wilson,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.