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 Latvia and from Lille.
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 1966 to 1977.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South 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 Byron Stingily to the electroclash kids.
I played it at Cafe Wha.
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 Louis and Bebe Barron. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Godley & Creme,
The United States of America,
Ronnie Foster,
the Swans,
Heavy D & The Boyz,
Barbara Tucker,
Bluetip,
The Mojo Men,
Joey Negro,
Eric Copeland,
Procol Harum,
Bootsy's Rubber Band,
Matthew Halsall,
The Dead C,
The Blues Magoos,
Cecil Taylor,
The Cramps,
The Martian,
The Gap Band,
Jeff Mills,
Charles Mingus,
The Real Kids,
Scrapy,
Major Organ And The Adding Machine,
Jacques Brel,
Rotary Connection,
These Immortal Souls,
Newcleus,
The Invisible,
Nation of Ulysses,
T.S.O.L.,
Bauhaus,
The Fugs,
Angry Samoans,
Hot Snakes,
Young Marble Giants,
Donald Byrd,
Pharoah Sanders,
Maurizio,
L. Decosne,
Dorothy Ashby,
Art Ensemble Of Chicago,
Blancmange,
Derrick May,
Crime,
Lee Hazlewood,
Basic Channel,
Lonnie Liston Smith,
Dave Gahan,
Letta Mbulu,
Barry Ungar,
Youth Brigade,
Nils Olav,
Section 25,
June Days,
The Shadows of Knight,
Stockholm Monsters,
Theoretical Girls,
Gary Puckett & The Union Gap,
Icehouse,
E-Dancer,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.