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 New Zealand and from Copenhagen.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Seoul and Calgary.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Röyhkä ja Rättö ja Lehtisalo to the electroclash kids.
I played it at the 40 Watt.
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 Index. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every DNA 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 '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Interpol 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?
Kings Of Tomorrow,
June Days,
Rhythm & Sound,
The Seeds,
John Lydon,
Con Funk Shun,
Sarah Menescal,
Ohio Players,
Kas Product,
Fort Wilson Riot,
The Beau Brummels,
Swans,
Jandek,
Jacob Miller,
Spandau Ballet,
The Standells,
Zapp,
Liliput,
James Chance & The Contortions,
R.M.O.,
Little Man,
Dead Boys,
Joyce Sims,
Rowland S Howard / Lydia Lunch,
Gang Gang Dance,
Camberwell Now,
Notorious BIG live in Amsterdam,
Average White Band,
The Cowsills,
Fatback Band,
Drexciya,
Minor Threat,
The Detroit Cobras,
The United States of America,
Eric Copeland,
Curtis Mayfield,
Ultra Naté,
Harpers Bizarre,
Lungfish,
Albert Ayler,
Harmonia,
H. Thieme,
Rekid,
Tim Buckley,
The Happenings,
In Retrospect,
Electric Light Orchestra,
Bootsy Collins,
Angels of Light & Akron/Family,
Suburban Knight,
Stockholm Monsters,
Todd Terry,
Black Bananas,
The Skatalites,
X-Ray Spex,
KRS-One,
John Cale,
The Walker Brothers,
Excepter,
the Sonics,
Scientists,
Cameo,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.