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 Grenada and from Mexico City.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Avey Tare's Slasher Flicks to the electroclash 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 Chris Corsano. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Symarip 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Albert Ayler,
The Offenders,
R.M.O.,
Ultimate Spinach,
X-102,
The Music Machine,
Radio Birdman,
Cabaret Voltaire,
Rod Modell,
Lucky Dragons,
Prince Buster,
Ossler,
Harmonia,
Nik Kershaw,
The Barracudas,
Public Enemy,
Lalann,
Roy Ayers Ubiquity,
Underground Resistance,
Gong,
Drexciya,
Delon & Dalcan,
Oblivians,
Monks,
Wings,
The Modern Lovers,
The Alarm Clocks,
Gregory Isaacs,
Deutsch Amerikanische Freundschaft,
Radiopuhelimet,
Warsaw,
Banda Bassotti,
Sexual Harrassment,
China Crisis,
Dennis Brown,
The Jesus and Mary Chain,
Camberwell Now,
Larry & the Blue Notes,
Scion,
Talk Talk,
The Trojans,
The Doobie Brothers,
Franke,
Aloha Tigers,
Derrick May,
This Heat,
Minor Threat,
The West Coast Pop Art Experimental Band,
Ice-T,
Bobby Womack,
Mandrill,
the Germs,
Masters at Work,
The Cowsills,
Gang Green,
Eurythmics,
Gichy Dan,
Morten Harket,
K-Klass,
The Sound,
MDC, MDC, MDC, MDC.
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.