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 Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Edmonton 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Fatback Band to the grunge kids.
I played it at the Troubador.
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 Spoonie Gee. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Marine Girls 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
T.S.O.L.,
Cabaret Voltaire,
The Music Machine,
Fat Boys,
Pantaleimon,
Marcia Griffiths,
Gil Scott Heron,
Liaisons Dangereuses,
A Flock of Seagulls,
Arthur Verocai,
Johnny Osbourne,
Alton Ellis,
Maurizio,
Talk Talk,
Michelle Simonal,
The Sisters of Mercy,
Sonny Sharrock,
The Tremeloes,
8 Eyed Spy,
The Offenders,
Gastr Del Sol,
Ponytail,
Black Flag,
Heavy D & The Boyz,
Brass Construction,
Tubeway Army,
Avey Tare's Slasher Flicks,
Livin' Joy,
Ultramagnetic MC's,
Rapeman,
Lalann,
Kerri Chandler,
Todd Rundgren,
Gerry Rafferty,
Rhythim Is Rhythim,
The Red Krayola,
cv313,
Louis and Bebe Barron,
Tres Demented,
DJ Sneak,
the Sonics,
Todd Terry,
The Gun Club,
Glambeats Corp.,
Thee Headcoats,
Arcadia,
Masters at Work,
Colin Newman,
Scratch Acid,
The Leaves,
The Busters,
Panda Bear,
Juan Atkins,
Amon Düül II,
The Fugs,
New Order,
The Cramps,
The Saints,
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.