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 Ireland and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 The Vogues to the electroclash 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 John Foxx. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every Mandrill 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Notorious Big And Bone Thugs,
Warren Ellis,
The Blues Magoos,
Fugazi,
Ronan,
Arcadia,
Ash Ra Tempel,
Ossler,
June of 44,
The Busters,
James Chance & The Contortions,
Pussy Galore,
Easy Going,
The Trojans,
The Gun Club,
Gastr Del Sol,
Rod Modell,
KRS-One,
Basic Channel,
Larry & the Blue Notes,
Ajijia Myrayebe,
The Red Krayola,
Cal Tjader,
The Leaves,
Can,
Bill Wells,
Pantytec,
Aural Exciters,
the Association,
ABC,
Severed Heads,
Funkadelic,
Barrington Levy,
Howard Jones,
Avey Tare & Kría Brekkan,
Peter and Kerry,
Rufus Thomas,
The Modern Lovers,
Barry Ungar,
Anthony Braxton,
The Mighty Diamonds,
Alison Limerick,
Piero Umiliani,
Bad Manners,
Dual Sessions,
Sly & The Family Stone,
Average White Band,
Siouxsie and the Banshees,
Kenny Larkin,
Brothers Johnson,
Sight & Sound,
Soul Sonic Force,
The Pop Group,
Idris Muhammad,
Animal Collective,
Blancmange,
The Associates,
Drive Like Jehu,
Shoche,
EPMD, EPMD, EPMD, EPMD.
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.