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 Eritrea and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Heavy D & The Boyz to the punk kids.
I played it at the Troubador.
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 Modern Lovers. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Ossler 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Henry Cow,
Scratch Acid,
Max Romeo,
Joe Finger,
Flash Fearless,
Ajijia Myrayebe,
Hasil Adkins,
Ultramagnetic MC's,
Carl Craig,
Crash Course in Science,
Reuben Wilson,
Michelle Simonal,
Can,
These Immortal Souls,
Tim Buckley,
Sun City Girls,
Eden Ahbez,
Nation of Ulysses,
Cybotron,
Dawn Penn,
Terrestrial Tones,
Al Stewart,
Todd Terry,
Swell Maps,
Visage,
Roxy Music,
The Cramps,
The Chocolate Watch Band,
Chrome,
Saccharine Trust,
Ronan,
Kango’s Stein Massive,
Moss Icon,
Make Up,
Severed Heads,
The Shadows of Knight,
Fluxion,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
Deepchord,
Frankie Knuckles,
Unwound,
The Victims,
Siouxsie and the Banshees,
The Saints,
Bronski Beat,
the Soft Cell,
DeepChord presents Echospace,
Marc Romboy vs. Booka Shade,
Scrapy,
Todd Rundgren,
Camouflage,
The Searchers,
Babytalk,
Bad Manners,
Interpol,
Bobby Byrd,
The Techniques, The Techniques, The Techniques, The Techniques.
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.