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 Kenya and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the disco 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 New Order. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Country Joe & The Fish,
Japan,
Ten City,
Organ,
Sexual Harrassment,
the Normal,
The Saints,
The Golliwogs,
Infiniti,
Barclay James Harvest,
Glambeats Corp.,
Roger Hodgson,
The Fugs,
Animal Collective,
Jawbox,
Selector Dub Narcotic,
Larry & the Blue Notes,
Radiopuhelimet,
Tears for Fears,
Brick,
Roy Ayers,
David McCallum,
Mantronix,
DJ Sneak,
Stereo Dub,
Television Personalities,
Amazonics,
The Smiths,
Neu!,
Pulsallama,
Soft Machine,
Black Sheep,
Oneida,
Red Lorry Yellow Lorry,
Camouflage,
Nation of Ulysses,
Arab on Radar,
Malaria!,
Roy Ayers Ubiquity,
The Gun Club,
Deutsch Amerikanische Freundschaft,
Kenny Larkin,
The United States of America,
MC5,
Mission of Burma,
The Raincoats,
Ice-T,
Interpol,
Thee Headcoats,
The Fire Engines,
Talk Talk,
Pantytec,
Second Layer,
Be Bop Deluxe,
Sparks,
Lalann,
The Gladiators,
Popol Vuh,
Suburban Knight,
Bang On A Can,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.