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 Estonia and from Houston.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Ultra Naté 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 Visage. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Scratch Acid,
Dead Boys,
Marine Girls,
Gang Green,
New York Dolls,
Alphaville,
Albert Ayler,
Skarface,
B.T. Express,
Letta Mbulu,
Tropical Tobacco,
The Barracudas,
Kerrie Biddell,
Curtis Mayfield,
Newcleus,
Throbbing Gristle,
Country Teasers,
The Mummies,
Marcia Griffiths,
The Star Department,
Amon Düül,
Freddie Wadling,
Sonny Sharrock,
The Flesh Eaters,
Magazine,
Soft Machine,
Yellowson,
Siouxsie and the Banshees,
Rosa Yemen,
Swans,
Public Enemy,
Organ,
AZ,
Glambeats Corp.,
Robert Hood,
Con Funk Shun,
Quadrant,
Youth Brigade,
Red Lorry Yellow Lorry,
The Doobie Brothers,
Marvin Gaye,
The Sisters of Mercy,
Sam Rivers,
The Divine Comedy,
Sad Lovers and Giants,
Sun Ra Arkestra,
Talk Talk,
Excepter,
Rapeman,
Sixth Finger,
Duran Duran,
The Young Rascals,
Absolute Body Control,
Terry Callier,
Nas,
DNA,
Kas Product,
The Modern Lovers,
Janne Schatter,
Stiv Bators,
Saccharine Trust,
Camouflage, Camouflage, Camouflage, Camouflage.
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.