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 Nauru and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Camouflage to the punk kids.
I played it at CBGB's.
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 Sparks. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
the Soft Cell,
The Music Machine,
Ajijia Myrayebe,
Scientists,
Young Marble Giants,
Section 25,
Graham Central Station,
Bobby Sherman,
James White and The Blacks,
Ken Boothe,
Sugar Minott,
T.S.O.L.,
The Five Americans,
Gary Puckett & The Union Gap,
Dennis Brown,
Marvin Gaye,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Girls At Our Best!,
Rufus Thomas,
B.T. Express,
Beasts of Bourbon,
Nick Cave & The Bad Seeds,
Soulsonic Force,
Au Pairs,
Fifty Foot Hose,
The Modern Lovers,
Lindisfarne,
Charles Mingus,
Eddi Front,
Symarip,
Bob Dylan,
Soul Sonic Force,
Todd Terry,
Metal Thangz,
Neil Young,
Avey Tare,
Man Parrish,
Average White Band,
Subhumans,
The Barracudas,
Smog,
the Association,
Essential Logic,
The Remains,
Art Ensemble Of Chicago,
The Gap Band,
The Invisible,
Blake Baxter,
A Certain Ratio,
La Düsseldorf,
Scrapy,
In Retrospect,
Half Japanese,
The J.B.'s,
Tom Boy,
The United States of America,
Loose Ends,
Flipper,
Excepter,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.