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 Liechtenstein and from Salvador.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Houston and Glasgow.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 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 China Crisis to the dance kids.
I played it at the Spitz.
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 Yusef Lateef. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Index,
Bronski Beat,
Susan Cadogan,
The Angels of Light,
Grey Daturas,
Kerrie Biddell,
Metal Thangz,
Pantaleimon,
The Doors,
Sugar Minott,
The Neon Judgement,
The Chocolate Watch Band,
Newcleus,
Yaz,
KRS-One,
The Misunderstood,
Rekid,
Kool Moe Dee,
The Fugs,
Echo & the Bunnymen,
Piero Umiliani,
UT,
Anthony Braxton,
Bauhaus,
Tears for Fears,
Sexual Harrassment,
The Young Rascals,
AZ,
Technova,
Deakin,
The Remains,
Qualms,
Althea and Donna,
Blake Baxter,
Lizzy Mercier Descloux,
The Alarm Clocks,
Gil Scott Heron,
Erasure,
Charles Mingus,
Alphaville,
Fluxion,
Joe Finger,
The J.B.'s,
Crash Course in Science,
Stockholm Monsters,
Procol Harum,
Blancmange,
Zapp,
The Busters,
Mission of Burma,
The Kinks,
Joe Smooth,
Don Cherry,
Danielle Patucci,
Eric B and Rakim,
The Durutti Column,
Art Ensemble Of Chicago,
Suicide,
DJ Sneak,
Ornette Coleman,
Visage, Visage, Visage, Visage.
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.