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 Germany and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television 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 1978.
I'm losing my edge.
To all the kids in Shanghai and Accra.
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 sitar 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 Bizarre Inc. to the jazz kids.
I played it at Trash.
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 Franke. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Model 500,
Ultravox,
La Düsseldorf,
Anthony Braxton,
the Normal,
Skriet,
Arthur Verocai,
Vaughan Mason & Crew,
Larry & the Blue Notes,
The Flesh Eaters,
Graham Central Station,
Dual Sessions,
the Association,
Pantaleimon,
Cymande,
Crooked Eye,
Freddie Wadling,
Vainqueur,
Eric B and Rakim,
The Jesus and Mary Chain,
Ralphi Rosario,
MDC,
Lungfish,
Flamin' Groovies,
Scan 7,
Swell Maps,
James Chance & The Contortions,
Black Moon,
JFA,
ABC,
One Last Wish,
Gang of Four,
Sex Pistols,
Chris Corsano,
PIL,
Camouflage,
The Evens,
Liliput,
Warren Ellis,
The Count Five,
Gerry Rafferty,
Derrick Morgan,
Masters at Work,
The Birthday Party,
Ultimate Spinach,
EPMD,
The Monochrome Set,
the Sonics,
Kool G Rap & DJ Polo,
Soul Sonic Force,
The Detroit Cobras,
Bluetip,
Archie Shepp,
Wasted Youth,
Hardrive,
Albert Ayler,
Lee Hazlewood,
Jeff Lynne,
Howard Jones,
The Toasters,
Pagans, Pagans, Pagans, Pagans.
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.