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 Sweden and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Bologna 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 linndrum 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 James White and The Blacks to the electroclash kids.
I played it at the 40 Watt.
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 Ultra Naté. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal punk 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 a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Sandy B,
The Detroit Cobras,
Gil Scott-Heron and Jamie xx,
Faust,
Gil Scott Heron,
Connie Case,
Guru Guru,
Black Bananas,
Captain Beefheart & His Magic Band,
Cal Tjader,
Anakelly,
Surgeon,
Roy Ayers Ubiquity,
Lungfish,
The Golliwogs,
The Mighty Diamonds,
Crime,
Quadrant,
The Doobie Brothers,
Cheater Slicks,
Selector Dub Narcotic,
Richard Hell and the Voidoids,
The Gun Club,
Massinfluence,
Eli Mardock,
Bobby Hutcherson,
Brick,
Cecil Taylor,
The Slackers,
The Toasters,
Darondo,
Duran Duran,
Art Ensemble Of Chicago,
Moby Grape,
The Remains,
Barbara Tucker,
Joy Division,
Stereo Dub,
The Fire Engines,
Gian Franco Pienzio,
The Fuzztones,
Flamin' Groovies,
Pierre Henry,
Roxy Music,
Deakin,
Pole,
Soulsonic Force,
Liaisons Dangereuses,
Kaleidoscope,
Colin Newman,
Rowland S Howard / Lydia Lunch,
The Pop Group,
Sam Rivers,
Archie Shepp,
Trumans Water,
Funky Four + One,
Bill Wells,
The J.B.'s,
Jesper Dahlbäck,
Laurel Aitken,
Erasure,
Model 500, Model 500, Model 500, Model 500.
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.