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 Japan and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
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 arpeggiator 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 T.S.O.L. to the crunk kids.
I played it at the Astoria.
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 Hashim. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Mandrill,
Blancmange,
T. Rex,
The Selecter,
Fatback Band,
Stiv Bators,
Roy Ayers,
Deadbeat,
Erasure,
Oneida,
Bill Near,
The Cosmic Jokers,
Robert Wyatt,
Kool G Rap & DJ Polo,
Rhythm & Sound,
Ralphi Rosario,
Cal Tjader,
Japan,
Mr. Review,
Accadde A,
Supertramp,
Zero Boys,
Angry Samoans,
Brass Construction,
Big Daddy Kane,
Ten City,
Liliput,
DJ Style,
Arthur Verocai,
John Coltrane,
Ice-T,
Spandau Ballet,
Adolescents,
Gil Scott Heron,
Tubeway Army,
Sparks,
The Fugs,
John Holt,
The Kinks,
Surgeon,
The Raincoats,
Barclay James Harvest,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
Crispy Ambulance,
Nico,
Delta 5,
Eli Mardock,
Visionaries,LMNO, T- Love & Iriscience,
The Cowsills,
Dual Sessions,
Swans,
Dawn Penn,
Brick,
The Seeds,
Susan Cadogan,
Wings,
Neil Young & Crazy Horse,
Kings Of Tomorrow,
Matthew Bourne,
Drive Like Jehu,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.