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 Zambia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Salvador 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 Sound Behaviour 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 Leonard Cohen. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
The Residents,
Girls At Our Best!,
Technova,
Bootsy Collins,
Sad Lovers and Giants,
Richard Hell and the Voidoids,
The Birthday Party,
Negative Approach,
Terrestrial Tones,
The Black Dice,
Arcadia,
Henry Cow,
The Human League,
Sound Behaviour,
The Vogues,
Albert Ayler,
Gil Scott Heron,
Joyce Sims,
Fort Wilson Riot,
Outsiders,
Ronnie Foster,
Tomorrow,
The Men They Couldn't Hang,
Lou Reed & John Cale,
Marvin Gaye,
The Fortunes,
Fela Kuti,
Art Ensemble Of Chicago,
Pharoah Sanders,
Accadde A,
Rod Modell,
Hasil Adkins,
Graham Central Station,
Connie Case,
Nation of Ulysses,
Lonnie Liston Smith,
The Red Krayola,
Kings Of Tomorrow,
Peter and Kerry,
Warren Ellis,
Soft Cell,
Aaron Thompson,
Sister Nancy,
Parry Music,
The Chocolate Watch Band,
The Victims,
Skaos,
Boredoms,
Fugazi,
David Axelrod,
Jacob Miller,
Bizarre Inc.,
H. Thieme,
Crime,
John Foxx,
Trumans Water,
Bobby Sherman,
The Cosmic Jokers,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.