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 Guatemala and from Philadelphia.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Tubeway Army to the disco 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 James Chance & The Contortions. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Walker Brothers,
Deepchord,
Hasil Adkins,
Tubeway Army,
Tom Boy,
Alton Ellis,
Max Romeo,
Kurtis Blow,
Eurythmics,
T. Rex,
Kaleidoscope,
Trumans Water,
Section 25,
Lalann,
The Buckinghams,
Derrick Morgan,
The Golliwogs,
Rufus Thomas,
The Cramps,
The Monks,
Excepter,
John Coltrane,
Tim Buckley,
The United States of America,
Grandmaster Flash and the Furious Five,
Sparks,
LL Cool J,
Can,
Lou Reed,
Danielle Patucci,
Make Up,
The Fugs,
Ultra Naté,
Eden Ahbez,
Super Lover Cee & Casanova Rud,
the Association,
Surgeon,
Alice Coltrane,
Reuben Wilson,
A Flock of Seagulls,
Q65,
Mark Hollis,
Black Pus,
The Wake,
Dennis Brown,
Rosa Yemen,
Intrusion,
Babytalk,
Tres Demented,
John Foxx,
The Gladiators,
This Heat,
Television,
Harmonia,
The American Breed,
Todd Rundgren,
Joe Finger,
Yellowson,
Bobbi Humphrey,
Michelle Simonal,
The Techniques,
Parry Music, Parry Music, Parry Music, Parry Music.
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.