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 Bangladesh and from London.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Cairo 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 mellotron 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 Stetsasonic to the funk kids.
I played it at Cafe Wha.
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 United States of America. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Spoonie Gee,
Super Lover Cee & Casanova Rud,
Matthew Halsall,
Aural Exciters,
A Flock of Seagulls,
The Vogues,
the Normal,
Kauko Röyhkä ja Narttu,
Animal Collective,
Ludus,
Erykah Badu,
The Gun Club,
the Fania All-Stars,
Bush Tetras,
The Neon Judgement,
Lou Reed & Metallica,
Cabaret Voltaire,
Suicide,
Kenny Larkin,
Traffic Nightmare,
The Zeros,
Dual Sessions,
John Foxx,
Crispy Ambulance,
Gong,
Gastr Del Sol,
Basic Channel,
Second Layer,
This Heat,
Amon Düül II,
Pete Rock & C.L. Smooth,
Cybotron,
Kango’s Stein Massive,
Bill Wells,
Liaisons Dangereuses,
Oneida,
Prince Buster,
Darondo,
The Techniques,
Sun Ra,
Desert Stars,
Rekid,
Panda Bear,
The Flesh Eaters,
Gang of Four,
The West Coast Pop Art Experimental Band,
Quadrant,
The Shadows of Knight,
Ralphi Rosario,
Patti Smith,
Tom Boy,
Kurtis Blow,
Royal Trux,
Intrusion,
Funkadelic,
David Bowie,
Andrew Hill,
Clear Light,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.