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 Ukraine and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1974.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Chocolate Watch Band to the disco 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 Bob Dylan. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Tomorrow,
Cybotron,
James White and The Blacks,
Gang Gang Dance,
L. Decosne,
Hardrive,
T. Rex,
Scrapy,
Jawbox,
Flipper,
Lalann,
Stetsasonic,
the Sonics,
Joe Finger,
Icehouse,
The Black Dice,
Crispian St. Peters,
Joe Smooth,
Ultimate Spinach,
Pagans,
Stereo Dub,
Theoretical Girls,
Reuben Wilson,
The Associates,
Harry Pussy,
Pierre Henry,
Minutemen,
Aural Exciters,
Pete Rock & C.L. Smooth,
The Doors,
Popol Vuh,
The Selecter,
Malaria!,
Blake Baxter,
Swans,
MC5,
The Fuzztones,
Saccharine Trust,
Marcia Griffiths,
H. Thieme,
Sound Behaviour,
Average White Band,
Moebius,
The United States of America,
The Names,
Minnie Riperton,
Faust,
Kurtis Blow,
Tropical Tobacco,
KRS-One,
The Modern Lovers,
Excepter,
The Cowsills,
Harmonia,
Arab on Radar,
Todd Rundgren,
Kango’s Stein Massive,
Kevin Saunderson,
Newcleus,
Manfred Mann's Earth Band,
The Blues Magoos,
Liaisons Dangereuses,
Alison Limerick,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.