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 Brazil and from Mumbai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Excepter to the dance 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 The Barracudas. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Darondo,
Hoover,
Visionaries,LMNO, T- Love & Iriscience,
June of 44,
Susan Cadogan,
Marc Almond,
The Victims,
Danielle Patucci,
Vaughan Mason & Crew,
Tommy Roe,
Boredoms,
Adolescents,
Dave Gahan,
The Names,
Public Enemy,
Piero Umiliani,
Wighnomy Brothers & Robag Wruhme,
Morten Harket,
Beasts of Bourbon,
Pierre Henry,
Moebius,
Thee Headcoats,
Bootsy's Rubber Band,
Chris & Cosey,
Bluetip,
The Alarm Clocks,
Strawberry Alarm Clock,
Chris Corsano,
DNA,
Model 500,
The Associates,
Tears for Fears,
Letta Mbulu,
The Seeds,
Soft Cell,
Cybotron,
Organ,
Lakeside,
Cymande,
Nico,
The Cowsills,
Dawn Penn,
The Monochrome Set,
Funkadelic,
Nirvana,
Mission of Burma,
Gian Franco Pienzio,
Siglo XX,
Bobby Sherman,
Jesper Dahlback,
Josef K,
Minnie Riperton,
Sarah Menescal,
Aural Exciters,
Newcleus,
R.M.O.,
Young Marble Giants,
Animal Collective,
One Last Wish,
Iggy Pop,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.