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 Lesotho and from Manchester.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Fat Boys to the grunge kids.
I played it at the Roxy.
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 Negative Approach. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Audionom,
Echospace,
Max Romeo,
Oneida,
Stetsasonic,
Siglo XX,
Tom Boy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Maleditus Sound,
The Skatalites,
The American Breed,
Oblivians,
Soft Machine,
Nick Cave & The Bad Seeds,
The Tremeloes,
Alton Ellis,
The Men They Couldn't Hang,
These Immortal Souls,
Sex Pistols,
Crispy Ambulance,
Lou Christie,
X-102,
Isaac Hayes,
The United States of America,
T. Rex,
James Chance & The Contortions,
Beasts of Bourbon,
Absolute Body Control,
Circle Jerks,
John Cale,
June of 44,
Bobby Byrd,
Alice Coltrane,
La Düsseldorf,
Gong,
Byron Stingily,
Darondo,
Aaron Thompson,
New Order,
Ultra Naté,
Funky Four + One,
Piero Umiliani,
John Foxx,
Depeche Mode,
Jimmy McGriff,
Black Pus,
Livin' Joy,
Major Organ And The Adding Machine,
48th St. Collective,
The Gories,
Avey Tare's Slasher Flicks,
Deakin,
Jerry's Kids,
Notorious Big And Bone Thugs,
Visionaries,LMNO, T- Love & Iriscience,
Yazoo,
Rahsaan Roland Kirk,
The Mummies,
Shuggie Otis,
Godley & Creme,
The Neon Judgement,
EPMD, EPMD, EPMD, EPMD.
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.