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 Brazil and from Toronto.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Unwound to the grime 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 Dorothy Ashby. All the underground hits.
All UT tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Colin Newman record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Moss Icon,
Buzzcocks,
Rhythim Is Rhythim,
Symarip,
Joey Negro,
Eden Ahbez,
Lalo Schifrin,
Kaleidoscope,
Make Up,
Marshall Jefferson,
Bush Tetras,
The Moleskins,
Sound Behaviour,
Ralphi Rosario,
Scratch Acid,
Michelle Simonal,
Half Japanese,
Mandrill,
Mo-Dettes,
Inner City,
Althea and Donna,
Quando Quango,
Drexciya,
Leonard Cohen,
Absolute Body Control,
The Seeds,
Eve St. Jones,
Soft Cell,
Von Mondo,
Theoretical Girls,
Avey Tare & Kría Brekkan,
Strawberry Alarm Clock,
Essential Logic,
The Fortunes,
Ornette Coleman,
Scrapy,
The Flesh Eaters,
Pulsallama,
The Monochrome Set,
Simply Red,
Siglo XX,
The Peanut Butter Conspiracy,
De La Soul & Jungle Brothers,
PIL,
Andrew Ashong & Theo Parrish,
Faraquet,
Kevin Saunderson,
Supertramp,
Sex Pistols,
Deutsch Amerikanische Freundschaft,
Hasil Adkins,
The Wake,
Intrusion,
Crash Course in Science,
Angry Samoans,
Lightning Bolt,
Faust,
Danielle Patucci,
Jerry's Kids,
Eli Mardock,
Index, Index, Index, Index.
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.