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 Taiwan and from Lille.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Arab on Radar to the electroclash kids.
I played it at the Roxy.
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 Whodini. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Laurel Aitken,
The Alarm Clocks,
Skarface,
Prince Buster,
Joe Smooth,
Colin Newman,
Sandy B,
Magma,
ABBA,
The Kinks,
Reagan Youth,
Hardrive,
John Holt,
Rhythm & Sound,
Trumans Water,
Tubeway Army,
The Offenders,
The Last Poets,
Pere Ubu,
Big Daddy Kane,
Echospace,
Anakelly,
10cc,
Gastr Del Sol,
The Index,
Cluster,
Howard Jones,
Yaz,
Monolake,
This Heat,
The Shadows of Knight,
H. Thieme,
Fatback Band,
The Stooges,
A Flock of Seagulls,
The Grass Roots,
Echo & the Bunnymen,
Inner City,
Ultra Naté,
T. Rex,
Sunsets and Hearts,
Quantec,
Albert Ayler,
The Raincoats,
Eve St. Jones,
Slick Rick,
Charles Mingus,
Joyce Sims,
The Blackbyrds,
The Modern Lovers,
Avey Tare's Slasher Flicks,
Lyres,
Strawberry Alarm Clock,
Barclay James Harvest,
Gregory Isaacs,
James White and The Blacks,
Anthony Braxton,
Soul Sonic Force,
Lizzy Mercier Descloux,
Man Eating Sloth,
Rod Modell,
Throbbing Gristle,
Babytalk, Babytalk, Babytalk, Babytalk.
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.