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 Antigua and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Edmonton 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Arcadia to the rock kids.
I played it at the Troubador.
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 Faraquet. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
FM Einheit,
Masters at Work,
Khruangbin,
Ponytail,
The Durutti Column,
Pylon,
Grandmaster Flash and the Furious Five,
Avey Tare & Kría Brekkan,
Desert Stars,
Aswad,
John Cale,
Sixth Finger,
Underground Resistance,
PIL,
Jeru the Damaja,
Louis and Bebe Barron,
Big Daddy Kane,
John Foxx,
Hardrive,
Pharoah Sanders,
The Dead C,
the Normal,
Notorious Big And Bone Thugs,
Jerry Gold Smith,
Drexciya,
Lonnie Liston Smith,
Mary Jane Girls,
Archie Shepp,
Man Parrish,
Marvin Gaye,
The Cosmic Jokers,
Harry Pussy,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Magazine,
the Slits,
Rahsaan Roland Kirk,
Traffic Nightmare,
Joy Division,
Interpol,
the Sonics,
Captain Beefheart & His Magic Band,
Larry & the Blue Notes,
Altered Images,
Cabaret Voltaire,
Camouflage,
Amazonics,
Man Eating Sloth,
Rapeman,
Girls At Our Best!,
The Neon Judgement,
De La Soul & Jungle Brothers,
Groovy Waters,
The Fortunes,
Faraquet,
Ronan,
Jesper Dahlback,
Bobby Sherman,
F. McDonald,
Banda Bassotti,
The Standells,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.