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 Mauritania and from Halifax.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1974.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Kas Product to the dance 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 Rhythim Is Rhythim. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal dance 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 organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Henry Cow,
Depeche Mode,
Vladislav Delay,
Kango’s Stein Massive,
The Pop Group,
Quantec,
Ponytail,
Barbara Tucker,
Johnny Clarke,
Girls At Our Best!,
Country Teasers,
Al Stewart,
Byron Stingily,
Art Ensemble Of Chicago,
Dave Gahan,
Ralphi Rosario,
Con Funk Shun,
Au Pairs,
Ossler,
A Certain Ratio,
the Fania All-Stars,
Public Enemy,
De La Soul & Jungle Brothers,
Scan 7,
Moby Grape,
Radiopuhelimet,
John Lydon,
Wings,
DeepChord presents Echospace,
The New Christs,
Anthony Braxton,
Gregory Isaacs,
Red Lorry Yellow Lorry,
Lindisfarne,
China Crisis,
Mantronix,
The Cure,
Laurel Aitken,
Main Source,
Talk Talk,
Yellowson,
Can,
Orchestral Manoeuvres in the Dark,
Agent Orange,
Lebanon Hanover,
Sunsets and Hearts,
The Leaves,
The Red Krayola,
Underground Resistance,
D'Angelo,
The Royal Family And The Poor,
Jacob Miller,
Reagan Youth,
The Last Poets,
Scratch Acid,
Echo & the Bunnymen,
Bizarre Inc.,
Eli Mardock,
Soft Machine,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.