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 Kuwait and from Sao Paulo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Nation of Ulysses to the techno 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 The Music Machine. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
R.M.O.,
Shoche,
Dawn Penn,
Yaz,
OOIOO,
Grandmaster Flash,
Pharaoh Sanders and the Fire Engines,
Dave Gahan,
Zapp,
A Flock of Seagulls,
David Bowie,
Angels of Light & Akron/Family,
The J.B.'s,
Slave,
Grauzone,
FM Einheit,
Sexual Harrassment,
Bobby Sherman,
Lebanon Hanover,
Mark Hollis,
X-101,
The Gap Band,
Crispian St. Peters,
Sonic Youth,
The Sonics,
The Count Five,
Soulsonic Force,
Pantaleimon,
The Buckinghams,
Sixth Finger,
Kevin Saunderson,
The Techniques,
Jerry's Kids,
Hashim,
Crash Course in Science,
Niagra,
Peter & Gordon,
MC5,
Graham Central Station,
Anthony Braxton,
Ten City,
The Index,
UT,
the Association,
Dead Boys,
Soft Cell,
Danielle Patucci,
De La Soul & Jungle Brothers,
Funkadelic,
Kool Moe Dee,
Zero Boys,
Motorama,
Lou Reed & John Cale,
The Young Rascals,
Fat Boys,
Fugazi,
One Last Wish,
The Pretty Things,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.