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 Costa Rica and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Crash Course in Science to the dance 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 The Moleskins. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Lou Reed 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Faust 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?
Sam Rivers,
Loose Ends,
A Certain Ratio,
The Count Five,
Panda Bear,
Roy Ayers Ubiquity,
Derrick May,
World's Most,
Al Stewart,
Agent Orange,
KRS-One,
The Wake,
Scott Walker,
Black Sheep,
Jawbox,
Glenn Branca,
Avey Tare's Slasher Flicks,
L. Decosne,
Peter & Gordon,
Toni Rubio,
Metal Thangz,
Kings Of Tomorrow,
Notorious Big And Bone Thugs,
James Chance & The Contortions,
Avey Tare,
Letta Mbulu,
Delon & Dalcan,
Andrew Hill,
The Kinks,
The Dirtbombs,
Guru Guru,
Echospace,
Max Romeo,
Pussy Galore,
Visionaries,LMNO, T- Love & Iriscience,
The Walker Brothers,
Mars,
48th St. Collective,
Harry Pussy,
PIL,
Sight & Sound,
Goldenarms,
Barry Ungar,
Suburban Knight,
Duran Duran,
The Move,
Louis and Bebe Barron,
Lee Hazlewood,
John Holt,
Teenage Jesus and the Jerks,
Kaleidoscope,
Soul II Soul,
The Cure,
Smog,
Hashim,
Don Cherry,
The Trojans,
Television,
Godley & Creme,
Liliput,
John Foxx,
Joyce Sims,
Minor Threat,
Deakin, Deakin, Deakin, Deakin.
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.