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 Cape Verde and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Swans to the techno kids.
I played it at the Hacienda.
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 The Gories. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Moby Grape,
The Gladiators,
The Alarm Clocks,
Joyce Sims,
Ituana,
Flamin' Groovies,
Magma,
Dawn Penn,
Bluetip,
The Fire Engines,
Sparks,
Kevin Saunderson,
Derrick Morgan,
The Dirtbombs,
Liaisons Dangereuses,
Josef K,
Ornette Coleman,
The Residents,
Laurel Aitken,
Drive Like Jehu,
Lyres,
Gary Puckett & The Union Gap,
The Associates,
Bootsy Collins,
Ultra Naté,
Harmonia,
Marc Romboy vs. Booka Shade,
Warsaw,
Black Moon,
Mad Mike,
Super Lover Cee & Casanova Rud,
The Real Kids,
The Detroit Cobras,
Robert Hood,
The Music Machine,
The Knickerbockers,
FM Einheit,
Boz Scaggs,
Gregory Isaacs,
cv313,
Neil Young,
Talk Talk,
Funky Four + One,
Kauko Röyhkä ja Narttu,
Graham Central Station,
Jerry's Kids,
Kenny Larkin,
Underground Resistance,
The Names,
Wally Richardson,
Terrestrial Tones,
Suburban Knight,
The Doobie Brothers,
X-102,
The Dave Clark Five,
Nils Olav,
Flipper,
Aural Exciters,
Radiohead,
Gong, Gong, Gong, Gong.
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.