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 Seychelles and from Sao Paulo.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Salvador 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 marimba 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 Lower 48 to the disco 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 Slave. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Thee Headcoats,
London Community Gospel Choir,
R.M.O.,
Circle Jerks,
Sunsets and Hearts,
Major Organ And The Adding Machine,
Infiniti,
The Dirtbombs,
Funky Four + One,
Young Marble Giants,
Malaria!,
Bobby Womack,
Camouflage,
Joey Negro,
Oppenheimer Analysis,
Bobby Hutcherson,
Ultramagnetic MC's,
The Sound,
Selector Dub Narcotic,
CMW,
Röyhkä ja Rättö ja Lehtisalo,
Scrapy,
Cal Tjader,
DJ Style,
Ludus,
Albert Ayler,
U.S. Maple,
David Axelrod,
Jesper Dahlbäck,
Andrew Ashong & Theo Parrish,
Boogie Down Productions,
Tears for Fears,
Bizarre Inc.,
DJ Sneak,
Tropical Tobacco,
OOIOO,
Bad Manners,
Johnny Osbourne,
Cheater Slicks,
Basic Channel,
the Association,
Bill Near,
The Doobie Brothers,
Angry Samoans,
Reagan Youth,
Moss Icon,
Amazonics,
Nirvana,
Eric B and Rakim,
Duran Duran,
The Velvet Underground,
Bang on a Can All-Stars,
Marvin Gaye,
The Young Rascals,
The Chocolate Watch Band,
Marc Almond,
Charles Mingus,
Kings Of Tomorrow,
The Birthday Party,
Cluster,
The Pop Group,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.