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 Pakistan and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1976.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 the Swans to the dance 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 Derrick May. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
The Happenings,
Franke,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dorothy Ashby,
Eyeless In Gaza,
Black Flag,
Crispian St. Peters,
Donny Hathaway,
Fat Boys,
Sad Lovers and Giants,
Drive Like Jehu,
Scan 7,
Aswad,
Faust,
The Chocolate Watch Band,
Judy Mowatt,
Traffic Nightmare,
The Neon Judgement,
Bang on a Can All-Stars,
The Jesus and Mary Chain,
Warren Ellis,
Goldenarms,
Black Bananas,
Don Cherry,
Ultravox,
The Pop Group,
Porter Ricks,
Brothers Johnson,
These Immortal Souls,
Tubeway Army,
John Foxx,
Ossler,
The Knickerbockers,
Ornette Coleman,
The Count Five,
Radio Birdman,
Young Marble Giants,
Surgeon,
Soft Cell,
Quando Quango,
Marine Girls,
The Standells,
Gang Green,
Hot Snakes,
The Human League,
Peter Gordon & Love of Life Orchestra,
The Wake,
The Men They Couldn't Hang,
The Flesh Eaters,
Notorious BIG live in Amsterdam,
Ultra Naté,
Blake Baxter,
Bob Dylan,
Pagans,
Swans,
the Soft Cell,
Mr. Review,
The Monochrome Set,
Aaron Thompson,
the Bar-Kays,
Animal Collective,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.