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 Tajikistan and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Cecil Taylor to the punk 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 Drexciya. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Black Bananas,
The Zeros,
Maurizio,
The Raincoats,
Royal Trux,
Junior Murvin,
Television,
FM Einheit,
Matthew Bourne,
Lungfish,
Fluxion,
John Holt,
The Red Krayola,
One Last Wish,
the Slits,
Subhumans,
The Sound,
The Moleskins,
Deepchord,
Gang Gang Dance,
Gregory Isaacs,
Franke,
Faraquet,
Hoover,
Aaron Thompson,
The Blues Magoos,
Model 500,
the Soft Cell,
Gong,
10cc,
Bootsy Collins,
Funky Four + One,
Kango’s Stein Massive,
Vainqueur,
Scratch Acid,
Kaleidoscope,
Heaven 17,
The Music Machine,
Gil Scott-Heron and Jamie xx,
Pagans,
Wally Richardson,
Con Funk Shun,
Minor Threat,
The American Breed,
Hasil Adkins,
The Victims,
ABBA,
Jandek,
Excepter,
D'Angelo,
Malaria!,
Camouflage,
The Sisters of Mercy,
Liaisons Dangereuses,
Saccharine Trust,
Symarip,
Tears for Fears,
Alton Ellis,
Underground Resistance,
Dead Boys, Dead Boys, Dead Boys, Dead 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.