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 Korea South and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Paris and Bologna.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Quantec to the disco 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 Jesper Dahlback. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal disco 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 a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Gil Scott-Heron & Brian Jackson,
Bang On A Can,
Fear,
the Soft Cell,
The Sound,
Tears for Fears,
Barrington Levy,
John Holt,
Bronski Beat,
Scion,
Oppenheimer Analysis,
Echo & the Bunnymen,
Suburban Knight,
Justin Hinds & The Dominoes,
The Gories,
Ajijia Myrayebe,
Louis and Bebe Barron,
The Alarm Clocks,
The West Coast Pop Art Experimental Band,
Roxette,
Tommy Roe,
The Divine Comedy,
Sparks,
The Offenders,
Jerry's Kids,
10cc,
Marvin Gaye,
These Immortal Souls,
Faraquet,
The Birthday Party,
Hasil Adkins,
Stetsasonic,
Parry Music,
Cymande,
Bang on a Can All-Stars,
Black Moon,
LL Cool J,
Kings Of Tomorrow,
Ultramagnetic MC's,
Soul Sonic Force,
The Move,
Shoche,
Bootsy Collins,
OOIOO,
Black Bananas,
A Certain Ratio,
Fat Boys,
Bill Near,
The Gun Club,
Michelle Simonal,
Niagra,
Yazoo,
The Wake,
Ituana,
Ronan,
Young Marble Giants,
Funky Four + One,
Gang of Four,
Schoolly D,
Radio Birdman,
The Dave Clark Five,
Letta Mbulu,
Mary Jane Girls,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.