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 Burundi and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Tokyo 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 OOIOO to the electroclash kids.
I played it at the Astoria.
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 Yellowson. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Erasure,
Henry Cow,
The Toasters,
Icehouse,
The Smoke,
Lou Christie,
Sandy B,
Tres Demented,
June Days,
Half Japanese,
Pantytec,
Bobby Sherman,
the Normal,
Chris Corsano,
kango's stein massive,
Jawbox,
H. Thieme,
Flamin' Groovies,
Essential Logic,
Joey Negro,
These Immortal Souls,
Intrusion,
X-101,
a-ha,
The Litter,
Alphaville,
Stereo Dub,
Robert Görl,
The Monks,
Blossom Toes,
Magma,
Ultra Naté,
The Sonics,
Charles Mingus,
Livin' Joy,
Peter & Gordon,
Archie Shepp,
Kango’s Stein Massive,
Pet Shop Boys,
Von Mondo,
The Mojo Men,
Reagan Youth,
Yazoo,
Gichy Dan,
Tomorrow,
Lyres,
Altered Images,
Schoolly D,
Steve Hackett,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Vogues,
The Electric Prunes,
David Axelrod,
Kenny Larkin,
Hot Snakes,
Excepter,
Orchestral Manoeuvres in the Dark,
The Victims, The Victims, The Victims, The Victims.
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.