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 Uruguay and from New York.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe 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 L. Decosne to the electroclash 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 Avey Tare & Kría Brekkan. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Man Parrish 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Agitation Free,
Echospace,
AZ,
Marc Almond,
Depeche Mode,
Swans,
A Flock of Seagulls,
Juan Atkins,
Donald Byrd,
Sugar Minott,
Brick,
The Residents,
The Alarm Clocks,
The Martian,
Alice Coltrane,
Ultimate Spinach,
Maurizio,
ABC,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Michelle Simonal,
Funkadelic,
Liliput,
Pharaoh Sanders and the Fire Engines,
B.T. Express,
The Birthday Party,
Reagan Youth,
The Angels of Light,
Pantytec,
The Human League,
Lightning Bolt,
Tears for Fears,
Sun Ra Arkestra,
Nirvana,
Pete Rock & C.L. Smooth,
Tubeway Army,
Super Lover Cee & Casanova Rud,
The Names,
The Busters,
Vladislav Delay,
Motorama,
Section 25,
Pole,
Arab on Radar,
Electric Light Orchestra,
Eurythmics,
The Black Dice,
Mantronix,
The Vogues,
Saccharine Trust,
Nik Kershaw,
Nils Olav,
U.S. Maple,
Interpol,
Warren Ellis,
Danielle Patucci,
Avey Tare's Slasher Flicks,
Yellowson,
Angry Samoans,
Tres Demented,
Magazine,
Rites of Spring,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.