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 Maldives and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Victims to the grime 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 Soul II Soul. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Kings Of Tomorrow,
Grandmaster Flash and the Furious Five,
John Holt,
Flamin' Groovies,
Kas Product,
Kenny Larkin,
Groovy Waters,
Lyres,
Clear Light,
Angry Samoans,
The Moody Blues,
R.M.O.,
Pete Rock & C.L. Smooth,
Soft Cell,
The Velvet Underground,
Joe Finger,
Au Pairs,
The Doors,
Quadrant,
Visionaries,LMNO, T- Love & Iriscience,
Eden Ahbez,
The Cramps,
Wolf Eyes,
Kerrie Biddell,
The Sisters of Mercy,
The Pop Group,
Sexual Harrassment,
Scion,
Symarip,
Stereo Dub,
Janne Schatter,
Nick Fraelich,
Skarface,
Country Joe & The Fish,
Skriet,
K-Klass,
Kayak,
The Gap Band,
Sound Behaviour,
The Last Poets,
Roxy Music,
Japan,
Stockholm Monsters,
The Kinks,
UT,
Black Flag,
The Mummies,
Brothers Johnson,
Nirvana,
Bang on a Can All-Stars,
Tropical Tobacco,
Mr. Review,
Frankie Knuckles,
Sly & The Family Stone,
The Music Machine,
The Barracudas,
Junior Murvin,
The Misunderstood,
Dorothy Ashby,
Excepter,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.