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 Mauritius and from Johannesburg.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 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 Traffic Nightmare to the grime 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 The Slits. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Boredoms,
Michelle Simonal,
In Retrospect,
Marc Romboy vs. Booka Shade,
Sarah Menescal,
Sun City Girls,
Siglo XX,
The Five Americans,
Pantytec,
Ultimate Spinach,
Ohio Players,
Blossom Toes,
the Fania All-Stars,
Sound Behaviour,
Vainqueur,
Stockholm Monsters,
The Selecter,
Matthew Halsall,
H. Thieme,
Shoche,
Andrew Ashong & Theo Parrish,
Dr. Dre and Snoop Doggy Dog,
Ituana,
Das Ding,
Brass Construction,
Bob Dylan,
Wire,
Robert Hood,
Scratch Acid,
Danielle Patucci,
Aaron Thompson,
Dennis Brown,
Jeru the Damaja,
Flash Fearless,
Susan Cadogan,
Rhythm & Sound,
Grauzone,
Public Image Ltd.,
Ponytail,
Brick,
The Divine Comedy,
Cameo,
The Peanut Butter Conspiracy,
New York Dolls,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sixth Finger,
Robert Wyatt,
Country Teasers,
Cecil Taylor,
Jeff Lynne,
The Gap Band,
Notorious Big And Bone Thugs,
Don Cherry,
One Last Wish,
Skriet,
James Chance & The Contortions,
Aswad,
Barbara Tucker,
Parry Music,
Scion,
K-Klass,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.