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 Nepal and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Milan 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 clarinet sounds with much patience.
I was there when Lou Reed 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 The Mummies to the dance kids.
I played it at the Spitz.
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 Albert Ayler. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Andrew Ashong & Theo Parrish,
Darondo,
Skarface,
The Victims,
Joe Smooth,
Chris & Cosey,
Eyeless In Gaza,
Traffic Nightmare,
Flamin' Groovies,
Ludus,
Little Man,
The Skatalites,
Sound Behaviour,
Sonny Sharrock,
Hot Snakes,
Soulsonic Force,
Drive Like Jehu,
London Community Gospel Choir,
Cabaret Voltaire,
DNA,
The Electric Prunes,
Depeche Mode,
Brand Nubian,
Lizzy Mercier Descloux,
Fatback Band,
The Dave Clark Five,
Wings,
The Slits,
Steve Hackett,
Ajijia Myrayebe,
Letta Mbulu,
The Fuzztones,
Frankie Knuckles,
Niagra,
Max Romeo,
Henry Cow,
Black Bananas,
Scientists,
Pharaoh Sanders and the Fire Engines,
T. Rex,
Pere Ubu,
The Zeros,
The Misunderstood,
Thee Headcoats,
Faust,
EPMD,
Ken Boothe,
Scratch Acid,
Girls At Our Best!,
The West Coast Pop Art Experimental Band,
Make Up,
Agitation Free,
The Doors,
Simply Red,
John Lydon,
Beasts of Bourbon,
H. Thieme,
Lower 48,
Babytalk, Babytalk, Babytalk, Babytalk.
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.