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 Rwanda and from Hong Kong.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Cairo 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Pole to the crunk kids.
I played it at Trash.
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 Black Flag. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
In Retrospect,
These Immortal Souls,
La Düsseldorf,
Vainqueur,
The Durutti Column,
Selector Dub Narcotic,
The Kinks,
Sam Rivers,
The Men They Couldn't Hang,
Albert Ayler,
Buzzcocks,
The Doors,
Judy Mowatt,
Kool Moe Dee,
The Moody Blues,
Nik Kershaw,
JFA,
Magma,
One Last Wish,
D'Angelo,
New Age Steppers,
Hasil Adkins,
Agitation Free,
48th St. Collective,
R.M.O.,
Terry Callier,
Boogie Down Productions,
Motorama,
Connie Case,
Public Enemy,
the Germs,
Wolf Eyes,
Radiohead,
Throbbing Gristle,
Harpers Bizarre,
Negative Approach,
The Gun Club,
Reuben Wilson,
Grey Daturas,
The Velvet Underground,
Country Teasers,
Ten City,
Deakin,
Ituana,
Pharoah Sanders,
the Normal,
Joe Finger,
Icehouse,
X-102,
Lucky Dragons,
Television Personalities,
Fifty Foot Hose,
Mark Hollis,
Y Pants,
Q and Not U,
Peter and Kerry,
Minny Pops,
A Certain Ratio,
The Mojo Men,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.