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 Somalia and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1971.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 Aloha Tigers to the electroclash kids.
I played it at the Astoria.
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 Oppenheimer Analysis. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Massinfluence,
Soft Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q65,
Funky Four + One,
Suburban Knight,
The Moleskins,
Roger Hodgson,
Monks,
Royal Trux,
Radiopuhelimet,
Gil Scott Heron,
Spandau Ballet,
Inner City,
Can,
Blossom Toes,
James White and The Blacks,
Lower 48,
Mantronix,
New York Dolls,
Frankie Knuckles,
Pharoah Sanders,
Cameo,
Marshall Jefferson,
Justin Hinds & The Dominoes,
Bobby Sherman,
a-ha,
Sexual Harrassment,
Terry Callier,
Grey Daturas,
The Toasters,
Johnny Osbourne,
Icehouse,
Bronski Beat,
Rosa Yemen,
Nils Olav,
The Fugs,
The Alarm Clocks,
K-Klass,
The Residents,
The Angels of Light,
Kool G Rap & DJ Polo,
Sugar Minott,
Panda Bear,
Scott Walker,
Mr. Review,
Pulsallama,
Yellowson,
Sällskapet,
The Smiths,
The New Christs,
Bobby Byrd,
The Happenings,
The Gladiators,
Index,
Niagra,
Al Stewart,
This Heat,
Lizzy Mercier Descloux,
Talk Talk,
The Wake, The Wake, The Wake, The Wake.
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.