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 Moldova and from Mumbai.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and Milan.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 The Beau Brummels to the crunk 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 Beau Brummels. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Lou Reed & John Cale,
Ponytail,
Albert Ayler,
Sly & The Family Stone,
F. McDonald,
John Lydon,
Kool G Rap & DJ Polo,
Lafayette Afro Rock Band,
CMW,
Peter & Gordon,
Alison Limerick,
The Slits,
Toni Rubio,
Gang Gang Dance,
The Evens,
Ken Boothe,
Nik Kershaw,
Darondo,
Bush Tetras,
Motorama,
Maleditus Sound,
Minutemen,
Sex Pistols,
Juan Atkins,
The Saints,
Patti Smith,
Al Stewart,
Althea and Donna,
Warren Ellis,
Arthur Verocai,
Ossler,
Zero Boys,
Underground Resistance,
Theoretical Girls,
Fear,
Super Lover Cee & Casanova Rud,
Black Sheep,
Sällskapet,
Warsaw,
Grauzone,
Pharaoh Sanders and the Fire Engines,
Section 25,
Franke,
Hasil Adkins,
E-Dancer,
Nation of Ulysses,
the Sonics,
James Chance & The Contortions,
Y Pants,
the Soft Cell,
The Smoke,
Q65,
Unwound,
Oppenheimer Analysis,
Oneida,
Frankie Knuckles,
Babytalk,
U.S. Maple,
Laurel Aitken,
Quando Quango,
Lou Christie,
The Cowsills,
The Divine Comedy,
Skriet, Skriet, Skriet, Skriet.
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.