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 Kenya and from Bologna.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Rhythim Is Rhythim to the crunk kids.
I played it at CBGB's.
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 Rod Modell. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
The Residents,
Lou Christie,
Junior Murvin,
Model 500,
Glambeats Corp.,
James Chance & The Contortions,
Monks,
Deepchord,
Pere Ubu,
Technova,
The Young Rascals,
Ultravox,
Au Pairs,
Ronnie Foster,
Rahsaan Roland Kirk,
Masters at Work,
The Monks,
Liliput,
Bill Wells,
48th St. Collective,
Nik Kershaw,
Joensuu 1685,
In Retrospect,
Icehouse,
Joyce Sims,
Hoover,
The Fire Engines,
The Durutti Column,
Livin' Joy,
the Sonics,
De La Soul & Jungle Brothers,
Erykah Badu,
Robert Hood,
The Sisters of Mercy,
EPMD,
Niagra,
Moebius,
Vaughan Mason & Crew,
Terrestrial Tones,
The Divine Comedy,
Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Alice Coltrane,
Visage,
Blake Baxter,
Marc Almond,
Skaos,
Supertramp,
Y Pants,
Little Man,
Eddi Front,
Marshall Jefferson,
Fifty Foot Hose,
ABC,
X-102,
Loose Ends,
The Doobie Brothers,
Trumans Water,
David Bowie,
Piero Umiliani,
Oblivians, Oblivians, Oblivians, Oblivians.
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.