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 Sweden and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 guitar 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 K-Klass to the rock kids.
I played it at the Spitz.
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 Drive Like Jehu. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every X-Ray Spex 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Sexual Harrassment,
Amon Düül,
The Standells,
Soft Machine,
Steve Hackett,
Warsaw,
Moby Grape,
The Move,
The Tremeloes,
Be Bop Deluxe,
The Litter,
Pulsallama,
Minutemen,
Tears for Fears,
Barry Ungar,
Dual Sessions,
CMW,
Ultra Naté,
Monks,
Stereo Dub,
Scan 7,
Spoonie Gee,
The Pretty Things,
Sonny Sharrock,
June Days,
Sound Behaviour,
Tropical Tobacco,
Gregory Isaacs,
Funkadelic,
ABBA,
The Fall,
Kings Of Tomorrow,
Khruangbin,
Brick,
Barbara Tucker,
Chrome,
The Victims,
Sister Nancy,
Lakeside,
Neu!,
Marc Romboy vs. Booka Shade,
Gastr Del Sol,
Rotary Connection,
Big Daddy Kane,
Crispy Ambulance,
Dennis Brown,
Urselle,
The Trojans,
The Black Dice,
Wolf Eyes,
The Fugs,
Man Eating Sloth,
David Bowie,
Suburban Knight,
Johnny Clarke,
Nirvana,
Joy Division,
Rowland S Howard / Lydia Lunch,
Thinking Fellers Union Local 282,
Bang On A Can,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.