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 Japan and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Manchester 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 organ 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 Aaron Thompson to the techno 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 Hoover. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Marshall Jefferson 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 '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Marc Romboy vs. Booka Shade,
Frankie Knuckles,
Technova,
Delta 5,
Ossler,
Robert Görl,
Guru Guru,
Japan,
Amazonics,
Derrick Morgan,
Max Romeo,
The Royal Family And The Poor,
Gang Gang Dance,
John Lydon,
The Index,
the Human League,
Strawberry Alarm Clock,
8 Eyed Spy,
Letta Mbulu,
Agent Orange,
The Seeds,
Fugazi,
June of 44,
Colin Newman,
Erykah Badu,
Tres Demented,
Bobbi Humphrey,
Kool Moe Dee,
Bobby Hutcherson,
Bootsy Collins,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
Lebanon Hanover,
The Divine Comedy,
Ronan,
Jesper Dahlback,
These Immortal Souls,
Lyres,
Yaz,
Jimmy McGriff,
Aural Exciters,
Gary Puckett & The Union Gap,
Avey Tare's Slasher Flicks,
The Gun Club,
Soul II Soul,
the Swans,
Shoche,
Average White Band,
48th St. Collective,
Fad Gadget,
Monolake,
Ice-T,
Symarip,
OOIOO,
Brass Construction,
Bush Tetras,
The Kinks,
Sun Ra Arkestra,
Zero Boys,
Rhythim Is Rhythim,
Smog,
Echospace, Echospace, Echospace, Echospace.
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.