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 United Kingdom and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1979.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator 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 Monolake to the funk kids.
I played it at the Hacienda.
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 Rosa Yemen. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
AZ,
the Slits,
Con Funk Shun,
Chris & Cosey,
Ohio Players,
Reuben Wilson,
The Mojo Men,
London Community Gospel Choir,
Marshall Jefferson,
Khruangbin,
Laurel Aitken,
The Smoke,
Bluetip,
Oblivians,
Larry & the Blue Notes,
D'Angelo,
Ultimate Spinach,
Rod Modell,
New Order,
Cameo,
Malaria!,
Tomorrow,
Bad Manners,
Kauko Röyhkä ja Narttu,
Hasil Adkins,
Tom Boy,
Traffic Nightmare,
Marine Girls,
Thee Headcoats,
Jesper Dahlbäck,
Lou Reed & John Cale,
The Associates,
Surgeon,
Wally Richardson,
Colin Newman,
Fort Wilson Riot,
Electric Light Orchestra,
Crash Course in Science,
New Age Steppers,
The Modern Lovers,
KRS-One,
Joensuu 1685,
The Trojans,
Liliput,
The Happenings,
Susan Cadogan,
Freddie Wadling,
Minnie Riperton,
Rahsaan Roland Kirk,
The Gun Club,
Organ,
Godley & Creme,
EPMD,
The Fugs,
The Dead C,
Gian Franco Pienzio,
Popol Vuh,
Agitation Free,
Deutsch Amerikanische Freundschaft,
Byron Stingily,
Dual Sessions,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.