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 Turkmenistan and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Columbus 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 güiro 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 Girls At Our Best! to the jazz kids.
I played it at the Troubador.
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 Ponytail. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Derrick May,
Zero Boys,
The Toasters,
Japan,
Liaisons Dangereuses,
Los Fastidios,
The Busters,
Yaz,
Sam Rivers,
The Durutti Column,
Deutsch Amerikanische Freundschaft,
Lindisfarne,
Severed Heads,
Pylon,
Boogie Down Productions,
Maleditus Sound,
The Divine Comedy,
Marvin Gaye,
Nils Olav,
Tears for Fears,
Shoche,
Kauko Röyhkä ja Narttu,
The Invisible,
Lafayette Afro Rock Band,
Sonny Sharrock,
The Litter,
Lee Hazlewood,
Throbbing Gristle,
Gil Scott-Heron and Jamie xx,
The Moleskins,
Bootsy Collins,
Underground Resistance,
The Sound,
Ludus,
The Buckinghams,
FM Einheit,
Ralphi Rosario,
The Victims,
Gil Scott Heron,
Gabor Szabo,
Scientists,
The Five Americans,
R.M.O.,
Fat Boys,
The Dirtbombs,
Chris & Cosey,
Minnie Riperton,
Technova,
The Last Poets,
The American Breed,
The J.B.'s,
Jerry's Kids,
Soul Sonic Force,
Malaria!,
Siglo XX,
Danielle Patucci,
Sixth Finger,
The Cosmic Jokers,
Marc Almond,
Heaven 17,
Prince Buster,
Harpers Bizarre,
Darondo, Darondo, Darondo, Darondo.
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.