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 Afghanistan and from Lille.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Delhi and Salvador.
I'm losing my edge to the art-school Jakarta 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 arpeggiator 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 Motorama to the funk 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 Talk Talk. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Radiopuhelimet,
Ornette Coleman,
Sight & Sound,
Anakelly,
La Düsseldorf,
Au Pairs,
The Fuzztones,
Sex Pistols,
Eli Mardock,
Malaria!,
Eric Dolphy,
Lyres,
Bang On A Can,
Massinfluence,
Jacques Brel,
Mad Mike,
KRS-One,
Liliput,
Ken Boothe,
Television,
Derrick Morgan,
Ponytail,
Jesper Dahlbäck,
Cecil Taylor,
Mantronix,
Banda Bassotti,
Half Japanese,
Nico,
Excepter,
Aaron Thompson,
Rowland S Howard / Lydia Lunch,
Funkadelic,
Glenn Branca,
Zero Boys,
Symarip,
The Selecter,
ABBA,
Second Layer,
The Peanut Butter Conspiracy,
Sexual Harrassment,
Kaleidoscope,
Aloha Tigers,
A Flock of Seagulls,
Drive Like Jehu,
Sun City Girls,
Pagans,
The Toasters,
Carl Craig,
Drexciya,
The Real Kids,
Johnny Clarke,
Thinking Fellers Union Local 282,
Röyhkä ja Rättö ja Lehtisalo,
Liaisons Dangereuses,
Motorama,
Alton Ellis,
The Monochrome Set,
The Last Poets,
8 Eyed Spy,
Model 500,
Average White Band,
Ossler, Ossler, Ossler, Ossler.
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.