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 Albania and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Johannesburg and Lagos.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Peter and Kerry to the punk kids.
I played it at the Crocodile.
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 Traffic Nightmare. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Anakelly,
Rosa Yemen,
The Grass Roots,
Quadrant,
The Black Dice,
Ultra Naté,
Peter & Gordon,
Joe Smooth,
Boredoms,
Cabaret Voltaire,
Fear,
Malaria!,
The Barracudas,
The Standells,
John Coltrane,
Sällskapet,
Avey Tare & Kría Brekkan,
Pharoah Sanders,
Kas Product,
Lindisfarne,
X-Ray Spex,
Todd Terry,
Sex Pistols,
Loose Ends,
Ornette Coleman,
Bad Manners,
Pantaleimon,
Delon & Dalcan,
Subhumans,
Newcleus,
Bobby Byrd,
Ultravox,
Man Eating Sloth,
Sun City Girls,
Terrestrial Tones,
Roxy Music,
Nas,
Be Bop Deluxe,
Flipper,
Barbara Tucker,
Monolake,
Sad Lovers and Giants,
Donny Hathaway,
The Flesh Eaters,
Desert Stars,
Sunsets and Hearts,
The Divine Comedy,
Grey Daturas,
Moby Grape,
Radio Birdman,
Vainqueur,
Soft Machine,
Yaz,
Tomorrow,
Cameo,
Robert Wyatt,
Echo & the Bunnymen,
John Holt,
Marc Romboy vs. Booka Shade,
Marshall Jefferson,
Skaos,
Cybotron,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.