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 France and from Johannesburg.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and Manila.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 New York Dolls to the rock 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 Amon Düül II. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Howard Jones,
Susan Cadogan,
Arcadia,
Roxette,
Carl Craig,
Throbbing Gristle,
Urselle,
Siouxsie and the Banshees,
Gregory Isaacs,
The Buckinghams,
Bobby Byrd,
Guru Guru,
B.T. Express,
Crash Course in Science,
Beasts of Bourbon,
the Soft Cell,
John Holt,
Marc Almond,
Sugar Minott,
Avey Tare,
Siglo XX,
In Retrospect,
Lizzy Mercier Descloux,
Supertramp,
Scott Walker,
Terror Squad Feat. Camron,
D'Angelo,
Bob Dylan,
Tropical Tobacco,
Don Cherry,
Cymande,
Gil Scott Heron,
The Seeds,
The Alarm Clocks,
Marshall Jefferson,
Be Bop Deluxe,
Alice Coltrane,
Selector Dub Narcotic,
The American Breed,
Bizarre Inc.,
Godley & Creme,
Niagra,
Kaleidoscope,
Faust,
Arab on Radar,
Ronnie Foster,
The Music Machine,
Severed Heads,
Massinfluence,
U.S. Maple,
Gang Gang Dance,
Major Organ And The Adding Machine,
Reuben Wilson,
Television,
Fatback Band,
Cluster,
Panda Bear,
Matthew Bourne,
Depeche Mode,
The Cure,
Ice-T,
Scratch Acid,
The Sound, The Sound, The Sound, The Sound.
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.