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 Honduras and from Milan.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1977.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Winnipeg 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 oboe 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 Blossom Toes to the rap 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 The Gories. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Pylon,
Sparks,
Nik Kershaw,
Brick,
Teenage Jesus and the Jerks,
Rhythim Is Rhythim,
Nas,
The Pretty Things,
Qualms,
Eric Copeland,
Sex Pistols,
Desert Stars,
Lizzy Mercier Descloux,
David McCallum,
Alison Limerick,
Stockholm Monsters,
Electric Light Orchestra,
Schoolly D,
Monks,
A Flock of Seagulls,
Michelle Simonal,
Half Japanese,
Porter Ricks,
Agitation Free,
Robert Hood,
Dawn Penn,
Glenn Branca,
Susan Cadogan,
Blake Baxter,
Suburban Knight,
Freddie Wadling,
Model 500,
Soul II Soul,
Sight & Sound,
Deakin,
Piero Umiliani,
The Mighty Diamonds,
Bizarre Inc.,
Gong,
Vainqueur,
Yusef Lateef,
A Certain Ratio,
Scion,
Marmalade,
Young Marble Giants,
The Red Krayola,
Mandrill,
Cal Tjader,
The New Christs,
Albert Ayler,
Larry & the Blue Notes,
Cymande,
Rites of Spring,
Sixth Finger,
Gil Scott Heron,
Kaleidoscope,
Traffic Nightmare,
The Cramps,
Zapp,
The Last Poets,
Roxette,
Pere Ubu,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.