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 Austria and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Johannesburg 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 Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Lou Reed & John Cale to the dance kids.
I played it at the Crocodile.
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 Suicide. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Ken Boothe,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark,
Rites of Spring,
Brothers Johnson,
The Techniques,
Rufus Thomas,
Visionaries,LMNO, T- Love & Iriscience,
Eric Dolphy,
Jacques Brel,
Alice Coltrane,
Minor Threat,
Idris Muhammad,
Dead Boys,
Babytalk,
Electric Prunes,
The Smiths,
The Blues Magoos,
Bill Near,
Ohio Players,
JFA,
Simply Red,
Yusef Lateef,
Sixth Finger,
Kerri Chandler,
The Residents,
Fatback Band,
Deepchord,
Aural Exciters,
The Happenings,
The Invisible,
The Star Department,
Jeff Mills,
Arcadia,
Eve St. Jones,
The Tremeloes,
Pet Shop Boys,
Intrusion,
Byron Stingily,
Man Parrish,
Rhythim Is Rhythim,
Marine Girls,
New York Dolls,
Sister Nancy,
Lou Christie,
Wally Richardson,
Grauzone,
The Index,
David Axelrod,
Stiv Bators,
Toni Rubio,
Agitation Free,
The Dead C,
Sugar Minott,
ABBA,
Marshall Jefferson,
Erasure,
Maleditus Sound,
Dr. Dre and Snoop Doggy Dog,
Absolute Body Control,
The Offenders,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.