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 Uzbekistan and from Edmonton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Quadrant to the rap kids.
I played it at the Crocodile.
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 Fifty Foot Hose. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal rock 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 a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Motorama,
B.T. Express,
Television Personalities,
Letta Mbulu,
Oneida,
The Pop Group,
Lakeside,
Mr. Review,
Porter Ricks,
Bobbi Humphrey,
The United States of America,
Isaac Hayes,
Popol Vuh,
Tropical Tobacco,
The Barracudas,
Ten City,
The Stooges,
Jeff Lynne,
Jacob Miller,
Manfred Mann's Earth Band,
Cecil Taylor,
World's Most,
Lindisfarne,
Jesper Dahlbäck,
Glenn Branca,
Robert Görl,
Neil Young,
Archie Shepp,
Shuggie Otis,
the Swans,
Thinking Fellers Union Local 282,
Camberwell Now,
Cybotron,
The Moleskins,
The Five Americans,
The Human League,
E-Dancer,
The Toasters,
The Birthday Party,
Accadde A,
Joe Finger,
Goldenarms,
Susan Cadogan,
Pagans,
The Sisters of Mercy,
Notorious Big And Bone Thugs,
Infiniti,
Neil Young & Crazy Horse,
Outsiders,
Inner City,
Arab on Radar,
The Move,
Negative Approach,
Marc Almond,
Clear Light,
Bizarre Inc.,
Strawberry Alarm Clock,
Joe Smooth,
Marmalade,
Peter Gordon & Love of Life Orchestra,
Drexciya,
Kaleidoscope,
The Busters,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.