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 Tuvalu and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
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 linndrum 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 Darondo to the crunk 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 Freddie Wadling. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every The Birthday Party 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Kevin Saunderson,
Magazine,
The Pop Group,
Big Daddy Kane,
Howard Jones,
Morten Harket,
Make Up,
Albert Ayler,
Don Cherry,
Public Enemy,
Monolake,
Röyhkä ja Rättö ja Lehtisalo,
Essential Logic,
Crash Course in Science,
cv313,
Simply Red,
Camouflage,
Roger Hodgson,
Notorious Big And Bone Thugs,
The Smoke,
Jerry's Kids,
Bobby Sherman,
Oppenheimer Analysis,
Severed Heads,
Mars,
Yusef Lateef,
Das Ding,
Nils Olav,
CMW,
Pagans,
Joe Finger,
Isaac Hayes,
Niagra,
Siouxsie and the Banshees,
Yellowson,
AZ,
Easy Going,
Barbara Tucker,
Stetsasonic,
Magma,
John Holt,
Joe Smooth,
Au Pairs,
Deakin,
The Flesh Eaters,
The Martian,
Harmonia,
Parry Music,
Ohio Players,
Cymande,
Terror Squad Feat. Camron,
Moebius,
Henry Cow,
Chris & Cosey,
Mantronix,
Bootsy's Rubber Band,
The Saints,
Drexciya,
MC5,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.