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 Latvia and from Philadelphia.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Calgary 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 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 Marmalade to the disco kids.
I played it at the Hacienda.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Tears for Fears,
The Searchers,
Letta Mbulu,
Mr. Review,
The Motions,
Chris & Cosey,
A Flock of Seagulls,
Echo & the Bunnymen,
Bootsy's Rubber Band,
Lebanon Hanover,
Section 25,
Soul Sonic Force,
Maurizio,
Blancmange,
The Neon Judgement,
Smog,
the Human League,
Gang of Four,
The Monks,
Tubeway Army,
Unrelated Segments,
Iggy Pop,
The Sonics,
New York Dolls,
Anthony Braxton,
Infiniti,
the Normal,
Ronnie Foster,
Cheater Slicks,
X-102,
The United States of America,
Fifty Foot Hose,
Pylon,
Bobby Sherman,
Art Ensemble Of Chicago,
MC5,
The Star Department,
Easy Going,
Alison Limerick,
The Misunderstood,
The Slits,
Kings Of Tomorrow,
Bobby Womack,
Kurtis Blow,
Grandmaster Flash and the Furious Five,
Deepchord,
Avey Tare & Kría Brekkan,
World's Most,
B.T. Express,
ABBA,
Simply Red,
Model 500,
David Axelrod,
Sight & Sound,
It's A Beautiful Day,
The Gories,
Clear Light,
Brick,
Jeff Lynne,
Quantec, Quantec, Quantec, Quantec.
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.