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 India and from Shanghai.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Delhi 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator 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 Aswad to the funk 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 Juan Atkins. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Dead Boys 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
K-Klass,
The Evens,
The Offenders,
Robert Wyatt,
Susan Cadogan,
Mars,
ABC,
Captain Beefheart & His Magic Band,
Sam Rivers,
Visionaries,LMNO, T- Love & Iriscience,
Fat Boys,
Royal Trux,
Terrestrial Tones,
John Foxx,
Nils Olav,
Con Funk Shun,
Moebius,
Pylon,
The Star Department,
Cheater Slicks,
James White and The Blacks,
F. McDonald,
The United States of America,
Todd Rundgren,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nico,
Spandau Ballet,
Guru Guru,
Arab on Radar,
Bronski Beat,
The Gladiators,
Liliput,
Major Organ And The Adding Machine,
Chris & Cosey,
Erasure,
Porter Ricks,
Bootsy Collins,
Notorious BIG live in Amsterdam,
The Modern Lovers,
Howard Jones,
Larry & the Blue Notes,
The Shadows of Knight,
Chris Corsano,
Brass Construction,
Babytalk,
Lungfish,
Rahsaan Roland Kirk,
Alphaville,
Rod Modell,
The Birthday Party,
Heaven 17,
Fifty Foot Hose,
Technova,
CMW,
Q and Not U,
Gichy Dan,
Jandek,
Public Image Ltd.,
John Holt,
The Slackers,
Hoover,
Das Ding, Das Ding, Das Ding, Das Ding.
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.