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 Egypt and from Bremen.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ 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 Scratch Acid to the disco kids.
I played it at the Roxy.
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 Moody Blues. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Cramps,
The Detroit Cobras,
Masters at Work,
The Slackers,
The Smiths,
The Monochrome Set,
Joey Negro,
Minor Threat,
Visage,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Camron Feat. Jay Z And Juelz,
Brand Nubian,
The Searchers,
The Dave Clark Five,
Q and Not U,
Lyres,
Echo & the Bunnymen,
Pussy Galore,
Swell Maps,
The Mighty Diamonds,
Sound Behaviour,
Index,
Rosa Yemen,
Technova,
Ronnie Foster,
Smog,
The New Christs,
The Gories,
Donny Hathaway,
DNA,
Talk Talk,
Patti Smith,
Public Image Ltd.,
Fatback Band,
Blossom Toes,
Marc Romboy vs. Booka Shade,
The Velvet Underground,
Dual Sessions,
The Buckinghams,
Deepchord,
Maleditus Sound,
the Sonics,
Los Fastidios,
Rufus Thomas,
Marmalade,
Jacques Brel,
Fugazi,
Derrick May,
Clear Light,
The Monks,
Model 500,
X-102,
Teenage Jesus and the Jerks,
A Certain Ratio,
Robert Wyatt,
Delon & Dalcan,
Groovy Waters,
Spandau Ballet,
The Moleskins,
Aswad, Aswad, Aswad, Aswad.
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.