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 Sierra Leone and from Lille.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Calgary 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Bauhaus to the grime kids.
I played it at CBGB's.
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 Bootsy's Rubber Band. All the underground hits.
All Sun Ra Arkestra 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 dance 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Invisible,
Bluetip,
The Knickerbockers,
Cymande,
Morten Harket,
Notorious Big And Bone Thugs,
The Remains,
Livin' Joy,
Archie Shepp,
The Modern Lovers,
Hoover,
Brand Nubian,
The Pretty Things,
Monks,
Scott Walker,
Ultravox,
Tears for Fears,
Dorothy Ashby,
Ten City,
The Skatalites,
the Soft Cell,
Moby Grape,
Alice Coltrane,
Oblivians,
Unrelated Segments,
Rhythm & Sound,
Terry Callier,
Gil Scott-Heron & Brian Jackson,
Animal Collective,
X-101,
The Peanut Butter Conspiracy,
Blancmange,
Franke,
Sam Rivers,
DJ Style,
Oppenheimer Analysis,
The Flesh Eaters,
Chrome,
Agitation Free,
Interpol,
The Five Americans,
Crispy Ambulance,
Bauhaus,
ABBA,
The New Christs,
Kas Product,
Pharaoh Sanders and the Fire Engines,
Pussy Galore,
James Chance & The Contortions,
Desert Stars,
The Kinks,
Agent Orange,
Terror Squad Feat. Camron,
The Last Poets,
D'Angelo,
The Count Five,
Youth Brigade,
Black Moon, Black Moon, Black Moon, Black Moon.
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.