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 Finland and from London.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Bob Dylan to the punk 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 Flipper. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Minnie Riperton 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
David McCallum,
John Holt,
Visage,
Minutemen,
The Names,
Mr. Review,
Mission of Burma,
Amon Düül II,
Delta 5,
Clear Light,
Marc Romboy vs. Booka Shade,
Heavy D & The Boyz,
Graham Central Station,
Depeche Mode,
Boogie Down Productions,
Masters at Work,
Judy Mowatt,
Index,
Shuggie Otis,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
Faust,
Goldenarms,
Los Fastidios,
Brass Construction,
Don Cherry,
Chris Corsano,
The Cramps,
Intrusion,
Thee Headcoats,
Popol Vuh,
Desert Stars,
Urselle,
Minny Pops,
Surgeon,
L. Decosne,
Panda Bear,
Flash Fearless,
The Real Kids,
Kenny Larkin,
Livin' Joy,
Jerry Gold Smith,
Guru Guru,
Eddi Front,
Michelle Simonal,
Infiniti,
Lee Hazlewood,
Unwound,
The Victims,
Con Funk Shun,
Black Moon,
Avey Tare,
Pantaleimon,
Wings,
Oneida,
Gil Scott-Heron and Jamie xx,
It's A Beautiful Day,
Pulsallama,
Man Eating Sloth,
Barclay James Harvest,
Robert Hood,
The Mummies, The Mummies, The Mummies, The Mummies.
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.