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 Qatar and from Mexico City.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Whodini to the rap 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 John Holt. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Masters at Work 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 '90s.
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 Unwound record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
The Victims,
the Association,
Deadbeat,
Chris & Cosey,
Eric B and Rakim,
Black Bananas,
a-ha,
Stockholm Monsters,
Zapp,
Barry Ungar,
Amazonics,
Visionaries,LMNO, T- Love & Iriscience,
Chris Corsano,
Swell Maps,
Wasted Youth,
Super Lover Cee & Casanova Rud,
Adolescents,
Camberwell Now,
Harry Pussy,
Lucky Dragons,
Cecil Taylor,
K-Klass,
Echo & the Bunnymen,
Mark Hollis,
Marc Almond,
Tim Buckley,
Hot Snakes,
X-Ray Spex,
June of 44,
Delon & Dalcan,
Gregory Isaacs,
Spandau Ballet,
Letta Mbulu,
Michelle Simonal,
D'Angelo,
Stiv Bators,
Harpers Bizarre,
The Sonics,
The Moleskins,
Selector Dub Narcotic,
Freddie Wadling,
The Trojans,
DeepChord presents Echospace,
KRS-One,
Lightning Bolt,
Angels of Light & Akron/Family,
Angry Samoans,
Popol Vuh,
Deepchord,
Scratch Acid,
Nirvana,
Tears for Fears,
Television,
The Birthday Party,
Dead Boys,
Godley & Creme,
Marshall Jefferson,
R.M.O.,
Main Source,
Matthew Bourne,
Gang of Four,
UT, UT, UT, UT.
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.