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 Mexico and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Cairo.
I'm losing my edge to the art-school Milan 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Inner City to the funk kids.
I played it at Trash.
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 Stiv Bators. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every kango's stein massive 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Scratch Acid,
Jacques Brel,
Fad Gadget,
The Five Americans,
Ken Boothe,
Monolake,
Bootsy's Rubber Band,
Jimmy McGriff,
Connie Case,
cv313,
Barrington Levy,
June of 44,
It's A Beautiful Day,
Warren Ellis,
Lucky Dragons,
New Age Steppers,
The Men They Couldn't Hang,
Wally Richardson,
Thinking Fellers Union Local 282,
Nirvana,
Stetsasonic,
Pulsallama,
the Swans,
Pere Ubu,
ABBA,
Gregory Isaacs,
The Count Five,
Lou Reed,
Glenn Branca,
The Wake,
Technova,
Dorothy Ashby,
Scientists,
Bang on a Can All-Stars,
Essential Logic,
Marine Girls,
David Bowie,
Outsiders,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
Newcleus,
Gerry Rafferty,
Morten Harket,
Althea and Donna,
Bill Wells,
Cameo,
The Gories,
The Chocolate Watch Band,
Sun Ra Arkestra,
Lalann,
Franke,
Eve St. Jones,
Lyres,
Magazine,
Jeff Lynne,
Joy Division,
The Jesus and Mary Chain,
Swans,
Camouflage,
Ultramagnetic MC's,
Interpol, Interpol, Interpol, Interpol.
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.