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 Australia and from Bremen.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Jerry Gold Smith to the funk kids.
I played it at the Spitz.
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 Marshall Jefferson. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Suicide 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Boredoms,
Lyres,
Dual Sessions,
Fad Gadget,
Pharoah Sanders,
Aswad,
Cymande,
Dave Gahan,
Grey Daturas,
Procol Harum,
Interpol,
Ten City,
Mark Hollis,
The Slackers,
F. McDonald,
Marc Almond,
Wings,
Yellowson,
Joyce Sims,
Alphaville,
Barrington Levy,
Faust,
T.S.O.L.,
Sun City Girls,
PIL,
Tubeway Army,
Tim Buckley,
Bizarre Inc.,
Marcia Griffiths,
The Index,
The Invisible,
It's A Beautiful Day,
Television Personalities,
Minutemen,
Lou Reed & John Cale,
Q65,
In Retrospect,
Ultramagnetic MC's,
The Count Five,
World's Most,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Minor Threat,
Beasts of Bourbon,
Glenn Branca,
Jeru the Damaja,
Matthew Halsall,
a-ha,
The Mighty Diamonds,
Andrew Ashong & Theo Parrish,
the Human League,
The Alarm Clocks,
Camberwell Now,
The Music Machine,
Slave,
Subhumans,
Sound Behaviour,
U.S. Maple,
Nick Fraelich,
Anthony Braxton,
Lebanon Hanover,
Lou Reed & Metallica,
Jacques Brel,
Parry Music, Parry Music, Parry Music, Parry Music.
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.