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 Guyana and from Glasgow.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
I'm losing my edge to the art-school Shanghai 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 organ 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 Minor Threat to the grime kids.
I played it at Trash.
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 The Stooges. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Anthony Braxton 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Dave Clark Five,
Gil Scott Heron,
World's Most,
Technova,
A Flock of Seagulls,
Strawberry Alarm Clock,
Rotary Connection,
X-Ray Spex,
The Last Poets,
Isaac Hayes,
Index,
Dark Day,
Justin Hinds & The Dominoes,
London Community Gospel Choir,
Kool Moe Dee,
Visage,
Sandy B,
Scientists,
Althea and Donna,
Toni Rubio,
Half Japanese,
Main Source,
the Soft Cell,
Carl Craig,
These Immortal Souls,
Young Marble Giants,
Erasure,
AZ,
The Neon Judgement,
The Dirtbombs,
Altered Images,
Funky Four + One,
Youth Brigade,
The Angels of Light,
Deutsch Amerikanische Freundschaft,
Mark Hollis,
Alphaville,
Joey Negro,
Fad Gadget,
The Vogues,
The Skatalites,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
Mad Mike,
Smog,
Al Stewart,
Unrelated Segments,
Throbbing Gristle,
Mission of Burma,
Janne Schatter,
Röyhkä ja Rättö ja Lehtisalo,
The New Christs,
Minutemen,
Dead Boys,
The Monochrome Set,
Peter Gordon & Love of Life Orchestra,
Interpol,
Dual Sessions,
Masters at Work,
Stockholm Monsters,
Quando Quango,
Freddie Wadling,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.