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 Finland and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Seoul 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 Donald Fagen 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 Amazonics to the grime 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 Wire. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Cabaret Voltaire,
Roxy Music,
Susan Cadogan,
Pantaleimon,
Gregory Isaacs,
Pulsallama,
Essential Logic,
The Cosmic Jokers,
Kool G Rap & DJ Polo,
CMW,
Terry Callier,
Yazoo,
Andrew Ashong & Theo Parrish,
Anthony Braxton,
The Victims,
Nation of Ulysses,
Janne Schatter,
Mark Hollis,
Zapp,
Isaac Hayes,
David McCallum,
Cluster,
Organ,
Eyeless In Gaza,
The Toasters,
Au Pairs,
Aural Exciters,
Ohio Players,
The Men They Couldn't Hang,
The Fuzztones,
World's Most,
Gil Scott-Heron & Brian Jackson,
Roy Ayers Ubiquity,
the Soft Cell,
The Fortunes,
Grandmaster Flash and the Furious Five,
Kayak,
Fatback Band,
Lalann,
Black Moon,
Black Pus,
Ice-T,
Glenn Branca,
the Sonics,
Yellowson,
Radiohead,
The Knickerbockers,
Sixth Finger,
Deakin,
Byron Stingily,
cv313,
John Coltrane,
Sticky Fingaz feat. Raekwon,
The Human League,
Kauko Röyhkä ja Narttu,
Eric B and Rakim,
Robert Hood,
Fluxion,
Marcia Griffiths,
Basic Channel,
Camberwell Now,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.