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 Thailand and from Bremen.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Stiv Bators to the jazz kids.
I played it at the Astoria.
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 A Certain Ratio. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Pole,
Bauhaus,
Talk Talk,
Maleditus Sound,
Bootsy Collins,
Robert Görl,
Marvin Gaye,
Yellowson,
The J.B.'s,
Fad Gadget,
Camron Feat. Memphis Bleek And Beenie Seigel,
Yazoo,
Scrapy,
Porter Ricks,
Model 500,
Alphaville,
James White and The Blacks,
Ultramagnetic MC's,
Cybotron,
Wasted Youth,
Mary Jane Girls,
Marcia Griffiths,
Reuben Wilson,
The Residents,
The Five Americans,
Bobby Byrd,
The Martian,
Josef K,
The Blues Magoos,
Lightning Bolt,
The Dead C,
Joy Division,
David Axelrod,
Tropical Tobacco,
Gabor Szabo,
Aloha Tigers,
Cabaret Voltaire,
Throbbing Gristle,
The Standells,
Bronski Beat,
Echo & the Bunnymen,
Malaria!,
Minutemen,
Quadrant,
John Holt,
U.S. Maple,
Letta Mbulu,
the Association,
Liaisons Dangereuses,
Panda Bear,
Avey Tare & Kría Brekkan,
Art Ensemble Of Chicago,
Black Bananas,
The Busters,
Half Japanese,
Eric B and Rakim,
Peter & Gordon,
JFA,
The Kinks,
The Pop Group,
Hasil Adkins,
Matthew Halsall,
Ultravox, Ultravox, Ultravox, Ultravox.
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.