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 Suriname 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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Columbus 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator 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 American Breed to the grunge 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 Dave Gahan. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Erasure,
Wally Richardson,
Dark Day,
Magazine,
The Pop Group,
Jimmy McGriff,
Sonic Youth,
Talk Talk,
Bootsy Collins,
Barclay James Harvest,
Boredoms,
The Cowsills,
Rowland S Howard / Lydia Lunch,
Moss Icon,
Bauhaus,
Ash Ra Tempel,
It's A Beautiful Day,
Amon Düül,
Sex Pistols,
Scott Walker,
Bobby Womack,
Kenny Larkin,
James White and The Blacks,
The Fall,
The Slits,
Surgeon,
Rod Modell,
The Fire Engines,
Subhumans,
Bobby Sherman,
Grandmaster Flash and the Furious Five,
Rosa Yemen,
Idris Muhammad,
The Standells,
Cecil Taylor,
The Selecter,
Liliput,
Notorious Big And Bone Thugs,
Louis and Bebe Barron,
China Crisis,
Hot Snakes,
The Doobie Brothers,
Malaria!,
Underground Resistance,
June of 44,
Archie Shepp,
Saccharine Trust,
Ronnie Foster,
Godley & Creme,
Reuben Wilson,
Joyce Sims,
Young Marble Giants,
Suicide,
Absolute Body Control,
Lou Christie,
Nico,
Lower 48,
Harpers Bizarre,
Vladislav Delay,
Fugazi,
Stetsasonic,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.