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 Gambia and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1976.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Spokane 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Simply Red to the dance kids.
I played it at Trash.
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 Tomorrow. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
L. Decosne,
Crash Course in Science,
Black Moon,
Eric Dolphy,
Cymande,
Babytalk,
Minny Pops,
Pulsallama,
Joe Smooth,
Terry Callier,
The Birthday Party,
Stockholm Monsters,
Judy Mowatt,
Adolescents,
Bang on a Can All-Stars,
The Index,
8 Eyed Spy,
F. McDonald,
Gang Gang Dance,
Amon Düül,
Derrick May,
The Raincoats,
DJ Sneak,
Mark Hollis,
Roy Ayers Ubiquity,
Althea and Donna,
Echospace,
The Toasters,
The J.B.'s,
Malaria!,
The Grass Roots,
Camberwell Now,
Mars,
Fort Wilson Riot,
Flamin' Groovies,
Electric Light Orchestra,
Fluxion,
Loose Ends,
Porter Ricks,
The Shadows of Knight,
John Coltrane,
Spoonie Gee,
Curtis Mayfield,
Brick,
Panda Bear,
OOIOO,
The Cosmic Jokers,
Grauzone,
China Crisis,
Ice-T,
The Fire Engines,
The Barracudas,
Letta Mbulu,
Tropical Tobacco,
the Germs,
Yellowson,
Idris Muhammad,
Black Flag,
Johnny Clarke,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.