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 Singapore and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Halifax 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 linndrum 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 Gichy Dan to the grunge kids.
I played it at the 40 Watt.
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 Vaughan Mason & Crew. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Au Pairs,
The Mighty Diamonds,
Buzzcocks,
Erasure,
Spandau Ballet,
The Pop Group,
Television Personalities,
Kerrie Biddell,
Reuben Wilson,
Connie Case,
Robert Görl,
ABBA,
The Black Dice,
Audionom,
The Dirtbombs,
The J.B.'s,
Andrew Hill,
Deadbeat,
Ten City,
Procol Harum,
Rapeman,
The Mummies,
John Holt,
Colin Newman,
Supertramp,
Bootsy Collins,
Pylon,
Mary Jane Girls,
Josef K,
Ultra Naté,
The Standells,
Slick Rick,
Johnny Clarke,
Schoolly D,
La Düsseldorf,
The Blues Magoos,
Steve Hackett,
Livin' Joy,
Amon Düül,
The Barracudas,
Crooked Eye,
Michelle Simonal,
Ken Boothe,
Sad Lovers and Giants,
Louis and Bebe Barron,
The Names,
Eddi Front,
Lebanon Hanover,
Harmonia,
Alice Coltrane,
Bobby Womack,
Nils Olav,
Porter Ricks,
The Electric Prunes,
Pussy Galore,
The Leaves,
Black Moon,
The Litter,
The Detroit Cobras,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.