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 Maldives and from Seoul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Delhi.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 Pylon to the techno kids.
I played it at the Troubador.
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 Deakin. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
John Coltrane,
The American Breed,
Chris & Cosey,
Bootsy's Rubber Band,
The Mojo Men,
The Victims,
Quando Quango,
Warsaw,
Rhythm & Sound,
Tears for Fears,
Swell Maps,
kango's stein massive,
Jerry Gold Smith,
Pulsallama,
Barbara Tucker,
KRS-One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Avey Tare's Slasher Flicks,
Yazoo,
Masters at Work,
A Certain Ratio,
The Red Krayola,
Pantytec,
Essential Logic,
Idris Muhammad,
Organ,
Terry Callier,
Avey Tare,
Average White Band,
Sarah Menescal,
Livin' Joy,
Bill Wells,
Moby Grape,
the Association,
Can,
Agitation Free,
Crime,
Peter Gordon & Love of Life Orchestra,
Deakin,
Ohio Players,
Röyhkä ja Rättö ja Lehtisalo,
Interpol,
Flash Fearless,
Radiopuhelimet,
Nick Cave & The Bad Seeds,
Girls At Our Best!,
Deadbeat,
Tropical Tobacco,
The Doors,
Notorious Big And Bone Thugs,
The Birthday Party,
Franke,
Captain Beefheart & His Magic Band,
Drive Like Jehu,
Gang Gang Dance,
H. Thieme,
Lou Reed,
Janne Schatter,
Crooked Eye,
China Crisis,
The Searchers, The Searchers, The Searchers, The Searchers.
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.