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 Papua New Guinea and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Halifax 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Johnny Clarke to the rap 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 Half Japanese. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Bobby Sherman,
Ajijia Myrayebe,
John Foxx,
Reuben Wilson,
Freddie Wadling,
Hasil Adkins,
Can,
Barry Ungar,
Glambeats Corp.,
David McCallum,
Sixth Finger,
The Tremeloes,
Reagan Youth,
Echospace,
Lee Hazlewood,
Television,
Joyce Sims,
Faraquet,
Ronnie Foster,
Jeff Mills,
The Count Five,
Bizarre Inc.,
The Chocolate Watch Band,
The Techniques,
The Cosmic Jokers,
Suburban Knight,
Echo & the Bunnymen,
Blake Baxter,
Rekid,
Ultimate Spinach,
Rahsaan Roland Kirk,
The Dave Clark Five,
Radiohead,
Gil Scott-Heron and Jamie xx,
Easy Going,
Moebius,
Nik Kershaw,
Theoretical Girls,
Ten City,
Glenn Branca,
the Human League,
Scott Walker,
In Retrospect,
Red Lorry Yellow Lorry,
Lightning Bolt,
Eddi Front,
Model 500,
June Days,
Basic Channel,
The Residents,
Minutemen,
Bang on a Can All-Stars,
Curtis Mayfield,
the Bar-Kays,
Gil Scott-Heron & Brian Jackson,
Agent Orange,
Radiopuhelimet,
Alphaville,
Ronan,
Funkadelic,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.