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 Micronesia and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school London 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 theremin sounds with much patience.
I was there when Lou Reed 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 Pharoah Sanders to the electroclash kids.
I played it at Trash.
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 Oblivians. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every the Germs 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
The Saints,
Pierre Henry,
Television,
Yusef Lateef,
Lebanon Hanover,
The Pop Group,
The Fuzztones,
Crime,
The Alarm Clocks,
Kurtis Blow,
Althea and Donna,
10cc,
Lucky Dragons,
T.S.O.L.,
Sad Lovers and Giants,
Yellowson,
Quantec,
Pete Rock & C.L. Smooth,
Kevin Saunderson,
John Foxx,
Simply Red,
Rapeman,
Todd Terry,
Ronan,
Boogie Down Productions,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
MC5,
Can,
The Raincoats,
Parry Music,
Circle Jerks,
Roy Ayers Ubiquity,
Wings,
Fort Wilson Riot,
48th St. Collective,
Lungfish,
Make Up,
the Normal,
Japan,
The Angels of Light,
Sly & The Family Stone,
Lee Hazlewood,
Silicon Teens,
Scientists,
It's A Beautiful Day,
Grandmaster Flash,
Quadrant,
DJ Sneak,
Strawberry Alarm Clock,
Juan Atkins,
Stetsasonic,
Banda Bassotti,
Throbbing Gristle,
Ponytail,
Susan Cadogan,
Alton Ellis,
Joy Division,
Bill Near,
Amon Düül II,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.