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 Zimbabwe and from Milan.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1969 to 1976.
I'm losing my edge.
To all the kids in Accra and Jakarta.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Boogie Down Productions to the jazz kids.
I played it at the 40 Watt.
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 Can. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Magma,
Stockholm Monsters,
Susan Cadogan,
The Birthday Party,
Ultra Naté,
Gregory Isaacs,
R.M.O.,
The Human League,
Swans,
Rites of Spring,
Dark Day,
Nick Cave & The Bad Seeds,
Johnny Osbourne,
The Durutti Column,
Hoover,
Moebius,
Ossler,
Brick,
Peter & Gordon,
Black Bananas,
Minnie Riperton,
Massinfluence,
The West Coast Pop Art Experimental Band,
Public Image Ltd.,
Von Mondo,
Rotary Connection,
Flamin' Groovies,
Larry & the Blue Notes,
Ultravox,
Scientists,
Matthew Bourne,
Alphaville,
Alison Limerick,
Mars,
the Sonics,
Infiniti,
Siouxsie and the Banshees,
Adolescents,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kerrie Biddell,
Darondo,
Brothers Johnson,
The Moody Blues,
Jerry's Kids,
June of 44,
Bobby Byrd,
Idris Muhammad,
The Angels of Light,
Crispy Ambulance,
Peter and Kerry,
Inner City,
Angry Samoans,
Electric Prunes,
James White and The Blacks,
Gil Scott Heron,
The Remains,
Selector Dub Narcotic,
OOIOO,
The Leaves, The Leaves, The Leaves, The Leaves.
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.