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 East Timor 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 1966 to 1978.
I'm losing my edge.
To all the kids in Portland and Bremen.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Janne Schatter to the disco kids.
I played it at the Roxy.
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 Pere Ubu. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Alphaville 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Todd Terry,
Warren Ellis,
The Dead C,
Jerry Gold Smith,
Sun Ra,
David Bowie,
Scratch Acid,
Curtis Mayfield,
Ohio Players,
Spoonie Gee,
The Martian,
Quantec,
Bang On A Can,
De La Soul & Jungle Brothers,
Urselle,
Sexual Harrassment,
the Germs,
The Human League,
Reuben Wilson,
The Music Machine,
In Retrospect,
Animal Collective,
Bronski Beat,
Mark Hollis,
Soul Sonic Force,
Joe Finger,
Adolescents,
U.S. Maple,
Visionaries,LMNO, T- Love & Iriscience,
Motorama,
MC5,
Goldenarms,
Audionom,
Liliput,
Skriet,
The Velvet Underground,
Panda Bear,
Babytalk,
The Vogues,
Howard Jones,
Saccharine Trust,
The Shadows of Knight,
Heaven 17,
Eric B and Rakim,
Kevin Saunderson,
Warsaw,
Amon Düül II,
La Düsseldorf,
The Pop Group,
Minny Pops,
Gang Gang Dance,
Suicide,
The Birthday Party,
The Detroit Cobras,
Eric Dolphy,
The Monochrome Set,
Notorious BIG live in Amsterdam,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.