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 Guyana and from Tokyo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 The Cramps to the dance 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 Maurizio. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Outsiders 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
The Sisters of Mercy,
Bad Manners,
Gil Scott-Heron and Jamie xx,
Talk Talk,
DeepChord presents Echospace,
Ituana,
Drexciya,
Sex Pistols,
The Music Machine,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Massinfluence,
Stereo Dub,
Bizarre Inc.,
Scion,
Model 500,
Kerrie Biddell,
Audionom,
Aural Exciters,
Von Mondo,
the Normal,
Television,
Arcadia,
Mars,
Hashim,
Rhythm & Sound,
Pete Rock & C.L. Smooth,
Todd Terry,
Pharaoh Sanders and the Fire Engines,
Lindisfarne,
Scrapy,
Urselle,
Soul II Soul,
Gichy Dan,
John Coltrane,
Terrestrial Tones,
Tropical Tobacco,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sonic Youth,
Desert Stars,
Roxy Music,
Patti Smith,
New Order,
The Dirtbombs,
Oblivians,
The Gun Club,
Underground Resistance,
Strawberry Alarm Clock,
The Fall,
Malaria!,
Mad Mike,
Piero Umiliani,
Dark Day,
Soul Sonic Force,
Slick Rick,
Gian Franco Pienzio,
The Kinks,
the Soft Cell,
Barry Ungar,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.