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 Serbia and from Seoul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Accra and Tehran.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 the Germs to the techno kids.
I played it at Cafe Wha.
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 Interpol. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Blossom Toes,
The Vogues,
Angry Samoans,
Flamin' Groovies,
Vladislav Delay,
The Fire Engines,
This Heat,
Amazonics,
Hasil Adkins,
Reagan Youth,
Q and Not U,
The Motions,
Robert Wyatt,
Charles Mingus,
Roxy Music,
David Bowie,
Piero Umiliani,
Main Source,
Cabaret Voltaire,
The Victims,
Ronan,
The Human League,
Easy Going,
Larry & the Blue Notes,
Bauhaus,
Shoche,
The Five Americans,
Johnny Osbourne,
Alphaville,
Eli Mardock,
Arthur Verocai,
The American Breed,
Carl Craig,
Grandmaster Flash and the Furious Five,
Subhumans,
London Community Gospel Choir,
Interpol,
Mad Mike,
Radiohead,
Gerry Rafferty,
The Real Kids,
Nico,
Accadde A,
U.S. Maple,
Warren Ellis,
Spandau Ballet,
Pussy Galore,
Theoretical Girls,
Mandrill,
The Walker Brothers,
The Durutti Column,
Wings,
Alison Limerick,
Scion,
Joe Finger,
The New Christs,
Boz Scaggs,
Surgeon,
Teenage Jesus and the Jerks,
John Holt,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.