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 South Africa and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Chris & Cosey to the jazz kids.
I played it at the Spitz.
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 Brass Construction. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
The Fugs,
Lower 48,
The Chocolate Watch Band,
Peter & Gordon,
Frankie Knuckles,
Cabaret Voltaire,
The Motions,
Von Mondo,
Dead Boys,
Ralphi Rosario,
Lindisfarne,
the Human League,
James White and The Blacks,
Lee Hazlewood,
Liaisons Dangereuses,
New York Dolls,
Ken Boothe,
Bobbi Humphrey,
Kauko Röyhkä ja Narttu,
Pylon,
Inner City,
DJ Style,
Soul II Soul,
AZ,
Robert Hood,
Ultravox,
Fort Wilson Riot,
The Gladiators,
Eurythmics,
Can,
The Blackbyrds,
Symarip,
Roy Ayers,
Nick Fraelich,
Procol Harum,
The Busters,
Lou Reed & Metallica,
Jeff Mills,
The Walker Brothers,
Negative Approach,
R.M.O.,
Electric Prunes,
Dual Sessions,
Larry & the Blue Notes,
Röyhkä ja Rättö ja Lehtisalo,
The Knickerbockers,
Ash Ra Tempel,
Neil Young & Crazy Horse,
Liliput,
Ohio Players,
The Black Dice,
KRS-One,
Stockholm Monsters,
the Normal,
Gang of Four,
Soul Sonic Force,
Essential Logic,
The Raincoats,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.