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 Solomon Islands and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Spokane and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when Michael McDonald 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 E-Dancer to the grime kids.
I played it at the Crocodile.
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 The Move. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal disco 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Larry & the Blue Notes,
Cabaret Voltaire,
Deakin,
Davy DMX,
Howard Jones,
Rowland S Howard / Lydia Lunch,
The Slits,
The Dirtbombs,
Banda Bassotti,
Rahsaan Roland Kirk,
Lyres,
The Mummies,
The Selecter,
Sister Nancy,
Charles Mingus,
Jeru the Damaja,
Skaos,
Curtis Mayfield,
The Victims,
Fluxion,
Niagra,
The Chocolate Watch Band,
Stereo Dub,
Toni Rubio,
Michelle Simonal,
London Community Gospel Choir,
Alison Limerick,
Dr. Dre and Snoop Doggy Dog,
The New Christs,
Audionom,
Erykah Badu,
UT,
Scientists,
K-Klass,
Yellowson,
Ludus,
Ice-T,
Spandau Ballet,
Joensuu 1685,
Soul II Soul,
In Retrospect,
Sun Ra,
Tropical Tobacco,
Ultra Naté,
Joe Finger,
The United States of America,
Fort Wilson Riot,
Dark Day,
Dennis Brown,
Selector Dub Narcotic,
EPMD,
Inner City,
Neil Young & Crazy Horse,
the Sonics,
Cameo,
Fifty Foot Hose,
Tim Buckley,
Wings,
Magma,
The Pop Group,
Magazine, Magazine, Magazine, Magazine.
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.