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 Swaziland and from Hong Kong.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Columbus 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 organ sounds with much patience.
I was there when Lou Reed 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 Brass Construction to the jazz kids.
I played it at CBGB's.
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 Aloha Tigers. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 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?
Scion,
Talk Talk,
Wolf Eyes,
Wire,
Girls At Our Best!,
Vainqueur,
Sunsets and Hearts,
Drexciya,
Minnie Riperton,
Black Sheep,
Bill Near,
Blossom Toes,
Marine Girls,
Rahsaan Roland Kirk,
Jacob Miller,
Fat Boys,
Robert Görl,
Mo-Dettes,
Lee Hazlewood,
John Cale,
Eyeless In Gaza,
The Knickerbockers,
Neil Young & Crazy Horse,
Throbbing Gristle,
Ultramagnetic MC's,
The Star Department,
Gil Scott Heron,
H. Thieme,
Sparks,
Camouflage,
Inner City,
Angry Samoans,
D'Angelo,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Quando Quango,
R.M.O.,
Lou Reed,
David McCallum,
The Move,
Blake Baxter,
Soft Machine,
The Residents,
Slick Rick,
Terror Squad Feat. Camron,
Monks,
The Golliwogs,
John Foxx,
Livin' Joy,
T. Rex,
The Offenders,
Joe Smooth,
8 Eyed Spy,
Unrelated Segments,
John Lydon,
Davy DMX,
The Flesh Eaters,
The Dirtbombs,
Toni Rubio,
Roy Ayers,
The Shadows of Knight,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.