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 Colombia 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 1962 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Paris 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 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 Monks to the disco kids.
I played it at the Hacienda.
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 The Associates. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Average White Band 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Gil Scott-Heron & Brian Jackson,
A Certain Ratio,
Bauhaus,
Kas Product,
Janne Schatter,
Sun Ra Arkestra,
Jacob Miller,
Visage,
Bad Manners,
Unrelated Segments,
Joensuu 1685,
Roger Hodgson,
Barrington Levy,
Robert Wyatt,
The Mighty Diamonds,
CMW,
Ponytail,
Deadbeat,
The Gun Club,
MDC,
Pulsallama,
Gang of Four,
Drive Like Jehu,
Surgeon,
Flamin' Groovies,
Interpol,
The Modern Lovers,
Jandek,
Hashim,
Thee Headcoats,
Schoolly D,
8 Eyed Spy,
The Techniques,
Avey Tare & Kría Brekkan,
Pagans,
Flash Fearless,
Suicide,
Johnny Clarke,
Mary Jane Girls,
the Swans,
E-Dancer,
The Music Machine,
X-Ray Spex,
James Chance & The Contortions,
Motorama,
Captain Beefheart & His Magic Band,
Wally Richardson,
Can,
The Fuzztones,
Vainqueur,
Fear,
Don Cherry,
Crispy Ambulance,
Nation of Ulysses,
Brass Construction,
the Bar-Kays,
Radiopuhelimet,
Shuggie Otis,
Ronan,
Whodini,
Chris Corsano,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.