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 Suriname and from Lille.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Columbus.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Pierre Henry to the dance kids.
I played it at Trash.
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 Godley & Creme. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
X-Ray Spex,
Sex Pistols,
The Kinks,
The Monochrome Set,
Massinfluence,
Dawn Penn,
The Divine Comedy,
Little Man,
Make Up,
The Peanut Butter Conspiracy,
Siouxsie and the Banshees,
Brass Construction,
Wire,
Vladislav Delay,
Bizarre Inc.,
Junior Murvin,
Hardrive,
Ultimate Spinach,
Arcadia,
Eric B and Rakim,
The Mummies,
Heaven 17,
Negative Approach,
Angry Samoans,
John Holt,
Masters at Work,
DJ Sneak,
Mars,
Ludus,
The Slackers,
The Dave Clark Five,
Gabor Szabo,
Underground Resistance,
Nick Cave & The Bad Seeds,
Depeche Mode,
Quando Quango,
Popol Vuh,
the Slits,
X-102,
Mission of Burma,
Sound Behaviour,
Erykah Badu,
Gil Scott Heron,
The Pop Group,
Althea and Donna,
The Stooges,
Gian Franco Pienzio,
Rotary Connection,
Young Marble Giants,
Delta 5,
Sam Rivers,
Q65,
Rowland S Howard / Lydia Lunch,
Section 25,
Deutsch Amerikanische Freundschaft,
The Star Department,
The Sisters of Mercy,
Nik Kershaw,
The Seeds,
Robert Görl,
The Litter,
Cameo,
Bill Near, Bill Near, Bill Near, Bill Near.
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.