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 Laos and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1973.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Brand Nubian to the jazz kids.
I played it at the Crocodile.
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 DeepChord presents Echospace. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Stereo Dub,
The West Coast Pop Art Experimental Band,
The Men They Couldn't Hang,
Flash Fearless,
The Gories,
Minor Threat,
Stockholm Monsters,
Symarip,
It's A Beautiful Day,
kango's stein massive,
Fugazi,
Gichy Dan,
The Divine Comedy,
Cameo,
The Monochrome Set,
Thee Headcoats,
The Red Krayola,
Mandrill,
Electric Prunes,
Negative Approach,
John Cale,
the Human League,
Television,
the Fania All-Stars,
Slave,
Lou Reed & John Cale,
Make Up,
Mission of Burma,
Bizarre Inc.,
Sunsets and Hearts,
The American Breed,
Kevin Saunderson,
Lizzy Mercier Descloux,
Technova,
Skarface,
Warren Ellis,
China Crisis,
Spandau Ballet,
Nico,
Marine Girls,
Qualms,
The Birthday Party,
Red Lorry Yellow Lorry,
Notorious Big And Bone Thugs,
Porter Ricks,
Nils Olav,
Pete Rock & C.L. Smooth,
Traffic Nightmare,
The Gun Club,
Scientists,
Barbara Tucker,
Warsaw,
Connie Case,
Vainqueur,
Los Fastidios,
Television Personalities,
New York Dolls,
Saccharine Trust,
Siglo XX,
Wolf Eyes,
10cc,
Gregory Isaacs,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.