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 Liberia and from Portland.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Spandau Ballet to the dance kids.
I played it at the Spitz.
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 Pantaleimon. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Bootsy Collins,
Robert Hood,
June Days,
Barry Ungar,
Captain Beefheart & His Magic Band,
Can,
The Detroit Cobras,
Blossom Toes,
UT,
Throbbing Gristle,
Pere Ubu,
Depeche Mode,
Wally Richardson,
Bush Tetras,
Interpol,
Althea and Donna,
Gong,
Nation of Ulysses,
Juan Atkins,
Minny Pops,
Junior Murvin,
The West Coast Pop Art Experimental Band,
Lightning Bolt,
The Toasters,
The Litter,
Public Enemy,
Eddi Front,
Flamin' Groovies,
Bill Near,
Dave Gahan,
Heaven 17,
China Crisis,
Eyeless In Gaza,
Johnny Osbourne,
David Axelrod,
Sister Nancy,
Deadbeat,
Make Up,
Ice-T,
Parry Music,
Pulsallama,
Essential Logic,
Malaria!,
The American Breed,
Amon Düül II,
Matthew Bourne,
Black Bananas,
Deutsch Amerikanische Freundschaft,
Peter and Kerry,
Suicide,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Offenders,
Iggy Pop,
X-102,
Alison Limerick,
Brothers Johnson,
Bobby Sherman,
Gerry Rafferty,
Lou Christie,
Avey Tare & Kría Brekkan,
Crooked Eye,
Deepchord, Deepchord, Deepchord, Deepchord.
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.