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 Mongolia and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Moss Icon to the punk kids.
I played it at the 40 Watt.
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 Aswad. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Infiniti 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Black Pus,
Stockholm Monsters,
Reuben Wilson,
Sister Nancy,
The Seeds,
FM Einheit,
Joe Finger,
Minny Pops,
Colin Newman,
The Busters,
Q and Not U,
Blake Baxter,
Nils Olav,
Sexual Harrassment,
Bootsy Collins,
Frankie Knuckles,
OOIOO,
The Saints,
Radiohead,
Gichy Dan,
Eden Ahbez,
Lou Reed,
the Normal,
The Music Machine,
Kango’s Stein Massive,
Cecil Taylor,
The Gap Band,
Boogie Down Productions,
The Kinks,
Bad Manners,
Selector Dub Narcotic,
Suburban Knight,
Scrapy,
Accadde A,
The Gladiators,
Major Organ And The Adding Machine,
Soul Sonic Force,
Scratch Acid,
Gil Scott-Heron and Jamie xx,
The Monochrome Set,
The Monks,
Q65,
Spoonie Gee,
Stereo Dub,
This Heat,
Fat Boys,
Groovy Waters,
Peter and Kerry,
Erykah Badu,
the Sonics,
K-Klass,
Liliput,
Oppenheimer Analysis,
Ornette Coleman,
Brass Construction,
Motorama,
Max Romeo,
Kenny Larkin,
Wolf Eyes,
the Human League,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.