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 Kyrgyzstan and from Salvador.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
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 snare 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 Yaz to the rap 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 James Chance & The Contortions. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Liliput,
Ronnie Foster,
Chris & Cosey,
Slick Rick,
Soul II Soul,
Erasure,
Terry Callier,
Max Romeo,
Soft Cell,
The Fortunes,
The Evens,
Ajijia Myrayebe,
Kango’s Stein Massive,
the Association,
Pere Ubu,
Peter and Kerry,
The Modern Lovers,
Scientists,
The Invisible,
Aaron Thompson,
Fluxion,
Tres Demented,
Ludus,
Godley & Creme,
Moebius,
Reuben Wilson,
The Dead C,
Suicide,
10cc,
Jeff Lynne,
John Coltrane,
Brass Construction,
F. McDonald,
Metal Thangz,
Dave Gahan,
Sugar Minott,
The Saints,
Jerry Gold Smith,
Bad Manners,
Notorious BIG live in Amsterdam,
Symarip,
Alice Coltrane,
Aural Exciters,
The Barracudas,
James Chance & The Contortions,
Con Funk Shun,
Beasts of Bourbon,
The Selecter,
Barbara Tucker,
Jerry's Kids,
Barry Ungar,
Judy Mowatt,
This Heat,
Nico,
Bobbi Humphrey,
Second Layer,
Procol Harum,
Kerrie Biddell,
Robert Wyatt,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.