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 Bolivia and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 Beijing and Philadelphia.
I'm losing my edge to the art-school Accra 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Kurtis Blow to the disco kids.
I played it at the Roxy.
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 Danielle Patucci. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Lou Reed & John Cale,
Mary Jane Girls,
Matthew Halsall,
Shoche,
Q65,
Black Flag,
Massinfluence,
Buzzcocks,
Shuggie Otis,
Quadrant,
EPMD,
The Remains,
The Birthday Party,
Barry Ungar,
Masters at Work,
Wasted Youth,
Larry & the Blue Notes,
Loose Ends,
La Düsseldorf,
Bootsy Collins,
Radio Birdman,
Thinking Fellers Union Local 282,
Dawn Penn,
Qualms,
Brand Nubian,
Rahsaan Roland Kirk,
The Dave Clark Five,
The Doobie Brothers,
Sun Ra,
Ultravox,
Nico,
Bootsy's Rubber Band,
Ultimate Spinach,
Funky Four + One,
Avey Tare & Kría Brekkan,
The Count Five,
H. Thieme,
Moby Grape,
Gregory Isaacs,
Pussy Galore,
Freddie Wadling,
Grey Daturas,
Black Moon,
Fluxion,
Carl Craig,
Trumans Water,
The Associates,
Fela Kuti,
Joyce Sims,
Howard Jones,
Grauzone,
Gang of Four,
The Durutti Column,
Jeru the Damaja,
Richard Hell and the Voidoids,
The Zeros,
X-Ray Spex,
Tears for Fears,
Art Ensemble Of Chicago,
Pere Ubu,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.