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 Syria and from Shanghai.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 The Techniques to the electroclash 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 The United States of America. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Heaven 17,
48th St. Collective,
The Invisible,
The Music Machine,
Kaleidoscope,
Piero Umiliani,
Deakin,
Minnie Riperton,
D'Angelo,
Henry Cow,
Supertramp,
Kas Product,
Blancmange,
OOIOO,
Excepter,
Make Up,
Hasil Adkins,
Major Organ And The Adding Machine,
The Five Americans,
Grauzone,
In Retrospect,
Banda Bassotti,
Robert Görl,
The Zeros,
Joy Division,
Donny Hathaway,
Ossler,
Neu!,
Wings,
The Happenings,
Sunsets and Hearts,
Amon Düül II,
Roxette,
DeepChord presents Echospace,
Yellowson,
The Mummies,
Girls At Our Best!,
The Red Krayola,
UT,
Jeff Lynne,
Pere Ubu,
Television Personalities,
Motorama,
Dual Sessions,
Roy Ayers,
Whodini,
Gil Scott Heron,
Country Joe & The Fish,
Bill Wells,
Monks,
Echospace,
Funkadelic,
Mandrill,
Heavy D & The Boyz,
Boogie Down Productions,
Ultimate Spinach,
Cheater Slicks,
8 Eyed Spy,
Accadde A,
The Vogues,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.