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 Burkina and from Lille.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Mumbai 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 guitar 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 Tommy Roe to the grime kids.
I played it at the Troubador.
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 Ituana. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Gastr Del Sol 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Ultimate Spinach,
B.T. Express,
Grandmaster Flash and the Furious Five,
Black Moon,
Rahsaan Roland Kirk,
Barrington Levy,
Albert Ayler,
Gerry Rafferty,
Janne Schatter,
Oblivians,
kango's stein massive,
Leonard Cohen,
the Soft Cell,
Urselle,
Michelle Simonal,
Slave,
The Techniques,
Avey Tare's Slasher Flicks,
Ludus,
Jeff Mills,
Juan Atkins,
Make Up,
Chrome,
Graham Central Station,
Tres Demented,
Japan,
The Gories,
Ralphi Rosario,
Essential Logic,
Crispy Ambulance,
It's A Beautiful Day,
Marmalade,
Suburban Knight,
Fort Wilson Riot,
Wally Richardson,
Cluster,
Howard Jones,
Lalann,
Jandek,
Los Fastidios,
Hardrive,
The Searchers,
Shoche,
London Community Gospel Choir,
Popol Vuh,
The Seeds,
The Offenders,
James White and The Blacks,
Echo & the Bunnymen,
T. Rex,
Alice Coltrane,
Bob Dylan,
Major Organ And The Adding Machine,
Kas Product,
Rosa Yemen,
Banda Bassotti,
Harry Pussy,
Boz Scaggs,
The Dirtbombs,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.