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 the UAE and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Toronto 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 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 Don Cherry to the punk kids.
I played it at the Troubador.
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 Judy Mowatt. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Procol Harum,
Index,
Pagans,
Patti Smith,
The West Coast Pop Art Experimental Band,
Average White Band,
The Pretty Things,
Curtis Mayfield,
The Shadows of Knight,
Sticky Fingaz feat. Raekwon,
Judy Mowatt,
Janne Schatter,
Grey Daturas,
Hardrive,
The Jesus and Mary Chain,
Niagra,
Bootsy Collins,
Laurel Aitken,
Magazine,
The Pop Group,
Bluetip,
London Community Gospel Choir,
Gil Scott-Heron & Brian Jackson,
Bobby Sherman,
Malaria!,
Brass Construction,
The Skatalites,
Quando Quango,
Black Bananas,
One Last Wish,
Girls At Our Best!,
Outsiders,
Barry Ungar,
Sonic Youth,
Audionom,
Interpol,
Y Pants,
Erasure,
Morten Harket,
Man Parrish,
the Swans,
Urselle,
Ultra Naté,
Youth Brigade,
Major Organ And The Adding Machine,
A Flock of Seagulls,
the Germs,
Ice-T,
DJ Sneak,
Eyeless In Gaza,
Agent Orange,
Alice Coltrane,
The American Breed,
OOIOO,
James Chance & The Contortions,
Wasted Youth,
Godley & Creme,
The Gories,
Groovy Waters,
Siglo XX,
The Slits, The Slits, The Slits, The Slits.
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.