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 Nicaragua and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Calgary 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Remains to the rap kids.
I played it at the Astoria.
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 Lebanon Hanover. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Joensuu 1685,
Magazine,
The Count Five,
Pulsallama,
Maurizio,
The Doors,
Major Organ And The Adding Machine,
The Raincoats,
Tim Buckley,
Toni Rubio,
Second Layer,
Metal Thangz,
The Fuzztones,
The Electric Prunes,
Marine Girls,
Pierre Henry,
Robert Wyatt,
Richard Hell and the Voidoids,
The Gladiators,
Sticky Fingaz feat. Raekwon,
KRS-One,
The Selecter,
AZ,
The Sisters of Mercy,
Dawn Penn,
Man Parrish,
Simply Red,
Jandek,
Lizzy Mercier Descloux,
Howard Jones,
10cc,
London Community Gospel Choir,
Aswad,
Lyres,
Jesper Dahlbäck,
Lou Reed & John Cale,
The Peanut Butter Conspiracy,
The Fire Engines,
Wasted Youth,
Jawbox,
Visage,
The Fugs,
Grandmaster Flash,
Laurel Aitken,
R.M.O.,
Jerry Gold Smith,
Jimmy McGriff,
The Shadows of Knight,
Brand Nubian,
Matthew Halsall,
Lou Reed,
Stiv Bators,
Ronan,
Ludus,
Lightning Bolt,
Moss Icon,
Sad Lovers and Giants,
Ultimate Spinach,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.