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 Hungary and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Chris & Cosey to the electroclash 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 Rites of Spring. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Sugar Minott 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator 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 harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Parry Music,
Fort Wilson Riot,
Marc Almond,
The Residents,
The Happenings,
June Days,
Harry Pussy,
The Dead C,
Bluetip,
Barbara Tucker,
Leonard Cohen,
Hardrive,
Zapp,
Nation of Ulysses,
Y Pants,
The Angels of Light,
Deakin,
Curtis Mayfield,
Marshall Jefferson,
The West Coast Pop Art Experimental Band,
The Young Rascals,
Freddie Wadling,
Ultra Naté,
The Saints,
Joy Division,
Lindisfarne,
Danielle Patucci,
Swell Maps,
Alton Ellis,
Echospace,
Radiopuhelimet,
Ituana,
Young Marble Giants,
Joyce Sims,
Todd Rundgren,
Surgeon,
Liliput,
John Lydon,
the Bar-Kays,
Don Cherry,
Arthur Verocai,
Gabor Szabo,
Gastr Del Sol,
The Gun Club,
Liaisons Dangereuses,
Faraquet,
Kayak,
Soft Cell,
Sam Rivers,
The Invisible,
Sound Behaviour,
Ronan,
Bizarre Inc.,
Nik Kershaw,
James White and The Blacks,
Absolute Body Control,
Monks,
Charles Mingus,
Tres Demented,
Ten City,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.