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 Venezuela and from Shanghai.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Yaz to the jazz kids.
I played it at Trash.
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 Porter Ricks. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Von Mondo 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Vaughan Mason & Crew,
Glambeats Corp.,
Nik Kershaw,
New Age Steppers,
Brick,
Delta 5,
Soulsonic Force,
Peter and Kerry,
Nas,
Freddie Wadling,
The Victims,
The Moody Blues,
Sonny Sharrock,
Davy DMX,
The Index,
The Techniques,
The Seeds,
Blake Baxter,
The Men They Couldn't Hang,
Cameo,
Guru Guru,
Jeff Mills,
Ludus,
Pantaleimon,
Simply Red,
the Swans,
Blossom Toes,
Ralphi Rosario,
Cymande,
Thinking Fellers Union Local 282,
Marc Almond,
Tomorrow,
A Flock of Seagulls,
Lebanon Hanover,
Eyeless In Gaza,
Byron Stingily,
John Holt,
Toni Rubio,
The Last Poets,
The Alarm Clocks,
The Fuzztones,
Angry Samoans,
T.S.O.L.,
Godley & Creme,
Vladislav Delay,
Flash Fearless,
Bill Wells,
Eric Dolphy,
Throbbing Gristle,
Barbara Tucker,
Johnny Clarke,
Avey Tare,
Nirvana,
Tom Boy,
DNA,
Kas Product,
Oneida,
The Divine Comedy,
The J.B.'s,
Quadrant, Quadrant, Quadrant, Quadrant.
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.