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 Senegal and from Portland.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Lagos 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Man Eating Sloth to the techno kids.
I played it at the 40 Watt.
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 Star Department. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Pylon,
The Count Five,
Michelle Simonal,
Avey Tare & Kría Brekkan,
Lou Reed & Metallica,
Stockholm Monsters,
Mars,
Metal Thangz,
Marshall Jefferson,
ABC,
Blossom Toes,
Sonny Sharrock,
the Sonics,
Eric Copeland,
B.T. Express,
Oblivians,
Alice Coltrane,
the Germs,
Sparks,
Gang Gang Dance,
F. McDonald,
The New Christs,
E-Dancer,
Sly & The Family Stone,
Dead Boys,
Wings,
Yellowson,
Unwound,
These Immortal Souls,
Fatback Band,
Echo & the Bunnymen,
Morten Harket,
Flipper,
Unrelated Segments,
The Blues Magoos,
Liaisons Dangereuses,
Andrew Ashong & Theo Parrish,
PIL,
Hardrive,
Andrew Hill,
Captain Beefheart & His Magic Band,
Davy DMX,
Lizzy Mercier Descloux,
Boredoms,
Vaughan Mason & Crew,
The Young Rascals,
The Knickerbockers,
The Fugs,
Aaron Thompson,
A Certain Ratio,
The Vogues,
Scientists,
Mad Mike,
John Coltrane,
Chris Corsano,
Wolf Eyes,
Bad Manners,
Pole,
Boogie Down Productions,
China Crisis,
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.