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 Rwanda and from Hong Kong.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Salvador 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Urselle to the techno 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 Josef K. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Yaz,
Sly & The Family Stone,
Deutsch Amerikanische Freundschaft,
Masters at Work,
OOIOO,
Funkadelic,
Outsiders,
Sound Behaviour,
Rod Modell,
Janne Schatter,
The Dirtbombs,
Boogie Down Productions,
Eyeless In Gaza,
The Doors,
Wire,
Louis and Bebe Barron,
Howard Jones,
Fad Gadget,
Piero Umiliani,
Supertramp,
Bad Manners,
New Age Steppers,
Blake Baxter,
Stereo Dub,
Lakeside,
Crash Course in Science,
Lungfish,
Moby Grape,
Hashim,
Letta Mbulu,
Clear Light,
Kurtis Blow,
Electric Light Orchestra,
8 Eyed Spy,
Niagra,
Fluxion,
Gil Scott-Heron and Jamie xx,
Underground Resistance,
Soft Cell,
Pantaleimon,
The Happenings,
Iggy Pop,
The Divine Comedy,
Echo & the Bunnymen,
Maurizio,
Pantytec,
Dorothy Ashby,
Flipper,
The Slackers,
Todd Terry,
CMW,
Sight & Sound,
The Gap Band,
The Slits,
The Zeros,
Robert Hood,
Faust,
Be Bop Deluxe,
Leonard Cohen,
Visage,
Minutemen, Minutemen, Minutemen, Minutemen.
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.