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 Turkmenistan and from Milan.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Milan.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 Inner City to the dance kids.
I played it at the Spitz.
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 Mary Jane Girls. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Circle Jerks,
Bizarre Inc.,
Dorothy Ashby,
Rites of Spring,
Skriet,
Sexual Harrassment,
Excepter,
Scrapy,
The Knickerbockers,
Lebanon Hanover,
Amazonics,
The Beau Brummels,
Index,
Radiohead,
ABC,
Grey Daturas,
Faust,
Little Man,
Harpers Bizarre,
The Birthday Party,
UT,
Nas,
Brothers Johnson,
8 Eyed Spy,
Siglo XX,
Alton Ellis,
Tommy Roe,
Leonard Cohen,
Mary Jane Girls,
Masters at Work,
Deepchord,
Suburban Knight,
Henry Cow,
Gary Puckett & The Union Gap,
Chris & Cosey,
Bluetip,
X-101,
The Chocolate Watch Band,
Andrew Hill,
Gang Starr,
Brand Nubian,
Parry Music,
B.T. Express,
Audionom,
Schoolly D,
The Smoke,
Crime,
Mad Mike,
Smog,
The Real Kids,
Nation of Ulysses,
the Germs,
Gastr Del Sol,
A Flock of Seagulls,
Bronski Beat,
Peter & Gordon,
Jerry's Kids,
The Tremeloes,
Thompson Twins,
Drive Like Jehu,
the Fania All-Stars,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.