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 Austria and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 Lyres to the jazz 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 Tropical Tobacco. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
R.M.O.,
Harmonia,
The Cramps,
the Germs,
One Last Wish,
Dual Sessions,
The Last Poets,
Section 25,
Spoonie Gee,
Bluetip,
Kango’s Stein Massive,
Ralphi Rosario,
Public Image Ltd.,
Television,
Mo-Dettes,
Black Pus,
Bizarre Inc.,
The Martian,
Wasted Youth,
Grauzone,
Robert Hood,
Delta 5,
Surgeon,
Captain Beefheart & His Magic Band,
Intrusion,
48th St. Collective,
This Heat,
Pantaleimon,
Rod Modell,
The Grass Roots,
Piero Umiliani,
Deepchord,
The Shadows of Knight,
Radiopuhelimet,
Cal Tjader,
Jimmy McGriff,
Janne Schatter,
Laurel Aitken,
Duran Duran,
The Sisters of Mercy,
The Tremeloes,
Minnie Riperton,
the Association,
Matthew Bourne,
Q65,
Wire,
Scott Walker,
The Zeros,
Newcleus,
Lou Reed & John Cale,
Slick Rick,
The Vogues,
DeepChord presents Echospace,
Desert Stars,
Maleditus Sound,
The Royal Family And The Poor,
Harry Pussy,
Harpers Bizarre,
Audionom,
Aswad,
June Days,
Red Lorry Yellow Lorry,
Main Source, Main Source, Main Source, Main Source.
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.