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 Bolivia and from London.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Manchester 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 Pylon to the techno kids.
I played it at the Crocodile.
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 Max Romeo. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Anthony Braxton,
E-Dancer,
Bobby Sherman,
Godley & Creme,
Radiohead,
Inner City,
Goldenarms,
Peter and Kerry,
Ten City,
John Lydon,
Harmonia,
Radiopuhelimet,
T.S.O.L.,
Gang Green,
Brass Construction,
DeepChord presents Echospace,
Aaron Thompson,
Minnie Riperton,
Sandy B,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Fad Gadget,
Yusef Lateef,
Heaven 17,
The Mummies,
Iggy Pop,
Kool Moe Dee,
Boz Scaggs,
Bang On A Can,
Al Stewart,
Albert Ayler,
Larry & the Blue Notes,
Anakelly,
Sam Rivers,
The Mojo Men,
Electric Light Orchestra,
Robert Hood,
Dark Day,
The Gladiators,
Country Joe & The Fish,
48th St. Collective,
Fugazi,
Excepter,
Suicide,
Traffic Nightmare,
the Slits,
The Neon Judgement,
Oneida,
Stockholm Monsters,
Roxy Music,
Arab on Radar,
Shoche,
10cc,
Bobby Womack,
Sister Nancy,
Magazine,
The Pop Group,
John Holt,
Bad Manners,
The Buckinghams,
Blossom Toes,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.