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 Greece 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 1966 to 1973.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Portland 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 Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 The Gap Band 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 The Divine Comedy. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal techno 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 a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
The Star Department,
Fatback Band,
Pharoah Sanders,
Bizarre Inc.,
Dorothy Ashby,
The Dave Clark Five,
A Flock of Seagulls,
Liliput,
Terrestrial Tones,
Bobby Hutcherson,
PIL,
Boz Scaggs,
Lebanon Hanover,
Bang on a Can All-Stars,
Cabaret Voltaire,
Hot Snakes,
Tubeway Army,
The Monks,
Moby Grape,
Fluxion,
Marine Girls,
the Soft Cell,
Joey Negro,
Manfred Mann's Earth Band,
Grauzone,
Negative Approach,
Blake Baxter,
Josef K,
Pussy Galore,
Ponytail,
The Slits,
The Beau Brummels,
Röyhkä ja Rättö ja Lehtisalo,
D'Angelo,
The United States of America,
The Selecter,
The Electric Prunes,
Avey Tare & Kría Brekkan,
Adolescents,
Aswad,
Donald Byrd,
The Evens,
Jacques Brel,
Spoonie Gee,
The Moleskins,
Fad Gadget,
Notorious Big And Bone Thugs,
Eve St. Jones,
The Shadows of Knight,
Agitation Free,
The Sound,
Arab on Radar,
Piero Umiliani,
Rites of Spring,
Supertramp,
Max Romeo,
Junior Murvin,
The Doors,
Pagans,
Stereo Dub,
Japan, Japan, Japan, Japan.
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.