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 Ghana and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 JFA to the techno 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 Sunsets and Hearts. All the underground hits.
All Television tracks. I heard you have a vinyl of every Lungfish 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Black Dice,
The Cowsills,
The Moody Blues,
The American Breed,
H. Thieme,
Model 500,
Lou Christie,
Symarip,
The Shadows of Knight,
China Crisis,
Strawberry Alarm Clock,
Babytalk,
Oppenheimer Analysis,
Easy Going,
Ludus,
Yazoo,
It's A Beautiful Day,
Motorama,
Spoonie Gee,
Mars,
Crime,
Pantytec,
Amon Düül II,
Curtis Mayfield,
The J.B.'s,
Cameo,
Fifty Foot Hose,
Funky Four + One,
Susan Cadogan,
Sly & The Family Stone,
The Selecter,
The Gap Band,
Adolescents,
the Germs,
The United States of America,
the Human League,
Procol Harum,
Brass Construction,
Ten City,
cv313,
Man Parrish,
Sixth Finger,
The Men They Couldn't Hang,
Sällskapet,
Infiniti,
Gerry Rafferty,
Jeru the Damaja,
Nas,
Crispian St. Peters,
Youth Brigade,
Rowland S Howard / Lydia Lunch,
MDC,
Fat Boys,
Ken Boothe,
John Holt,
The Mojo Men,
Mark Hollis,
The Seeds,
Saccharine Trust,
Kas Product,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.