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 Liberia and from Accra.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Peanut Butter Conspiracy to the crunk 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 The Selecter. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Kauko Röyhkä ja Narttu,
Notorious BIG live in Amsterdam,
Interpol,
Matthew Bourne,
Stiv Bators,
Tres Demented,
Gang Starr,
Bang On A Can,
Josef K,
Matthew Halsall,
Dark Day,
Lower 48,
Sun Ra,
The Sisters of Mercy,
Amazonics,
The Cure,
Section 25,
Bobby Sherman,
Urselle,
MC5,
Suburban Knight,
cv313,
Donald Byrd,
Barry Ungar,
Mo-Dettes,
Bill Wells,
The Shadows of Knight,
Rhythm & Sound,
Aural Exciters,
Robert Görl,
Sandy B,
Symarip,
Gian Franco Pienzio,
Soft Cell,
Organ,
Aaron Thompson,
Boogie Down Productions,
Joyce Sims,
Dorothy Ashby,
Can,
Lindisfarne,
Alton Ellis,
Alison Limerick,
Nas,
Tropical Tobacco,
Rhythim Is Rhythim,
Hashim,
Bobby Hutcherson,
The Electric Prunes,
The New Christs,
Warren Ellis,
R.M.O.,
Arthur Verocai,
Intrusion,
Don Cherry,
Mad Mike,
Das Ding,
Fatback Band,
Grey Daturas,
Black Pus,
Isaac Hayes,
Black Flag, Black Flag, Black Flag, Black Flag.
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.