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 Mongolia and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1961 to 1974.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Johnny Clarke to the disco 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 Jacques Brel. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Cymande 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 '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Aural Exciters,
Amon Düül,
Porter Ricks,
Moss Icon,
Reuben Wilson,
Yaz,
Sex Pistols,
the Swans,
Sam Rivers,
Animal Collective,
Roy Ayers Ubiquity,
Blancmange,
Gary Puckett & The Union Gap,
Pierre Henry,
Lindisfarne,
Terrestrial Tones,
Aloha Tigers,
The Tremeloes,
Scott Walker,
Gil Scott-Heron & Brian Jackson,
Alison Limerick,
The Motions,
Deakin,
Jesper Dahlbäck,
Fear,
The Dirtbombs,
The Names,
The Blues Magoos,
June Days,
Unwound,
Das Ding,
10cc,
Dark Day,
Richard Hell and the Voidoids,
Jesper Dahlback,
Wighnomy Brothers & Robag Wruhme,
EPMD,
Japan,
Man Parrish,
Sister Nancy,
Slick Rick,
Wire,
Black Flag,
Nils Olav,
Joe Smooth,
Crime,
Spandau Ballet,
Supertramp,
The Seeds,
Lonnie Liston Smith,
Altered Images,
The Vogues,
LL Cool J,
Wolf Eyes,
The Music Machine,
Ponytail,
Oneida,
The Standells,
Patti Smith,
The Zeros,
Bobby Byrd,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.