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 Armenia and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1973.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Paris 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 synthesizer 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 The Names to the grunge kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Henry Cow,
Monks,
Cluster,
PIL,
Stiv Bators,
Trumans Water,
Faust,
Röyhkä ja Rättö ja Lehtisalo,
Country Teasers,
Rotary Connection,
Radio Birdman,
Lungfish,
The Stooges,
Essential Logic,
Bluetip,
The Sisters of Mercy,
Fugazi,
The New Christs,
Tom Boy,
Marshall Jefferson,
Ken Boothe,
the Bar-Kays,
The Black Dice,
Rites of Spring,
New Age Steppers,
Saccharine Trust,
Grandmaster Flash and the Furious Five,
Slick Rick,
The Cramps,
The Durutti Column,
Mantronix,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Kenny Larkin,
Sex Pistols,
Barrington Levy,
Morten Harket,
Interpol,
Albert Ayler,
Moss Icon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Yusef Lateef,
Terrestrial Tones,
Scion,
Red Lorry Yellow Lorry,
The Star Department,
Absolute Body Control,
The Count Five,
Barbara Tucker,
Smog,
Rosa Yemen,
Second Layer,
T. Rex,
Surgeon,
Section 25,
Arthur Verocai,
Parry Music,
UT,
Tommy Roe,
Niagra,
Slave,
Peter and Kerry,
Guru Guru,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.