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 Togo and from Paris.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Avey Tare to the electroclash 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 Con Funk Shun. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every ABC 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Peter and Kerry,
Liliput,
Talk Talk,
Wighnomy Brothers & Robag Wruhme,
Pet Shop Boys,
Von Mondo,
The Peanut Butter Conspiracy,
Delon & Dalcan,
Q and Not U,
Icehouse,
The Offenders,
Wings,
Metal Thangz,
The Leaves,
U.S. Maple,
Symarip,
Scan 7,
Sex Pistols,
Alphaville,
Harpers Bizarre,
Mantronix,
Gary Puckett & The Union Gap,
De La Soul & Jungle Brothers,
Saccharine Trust,
Kool Moe Dee,
Juan Atkins,
Deadbeat,
Japan,
Lebanon Hanover,
The Blackbyrds,
Bobby Sherman,
The Neon Judgement,
Cameo,
Sugar Minott,
Young Marble Giants,
Ornette Coleman,
Camberwell Now,
The Invisible,
Kerrie Biddell,
Interpol,
Funkadelic,
Marc Almond,
Technova,
Rekid,
the Normal,
Cal Tjader,
Lalann,
Tomorrow,
Second Layer,
The Slits,
Zapp,
Notorious Big And Bone Thugs,
Kango’s Stein Massive,
Trumans Water,
Wolf Eyes,
The Gun Club,
The Real Kids,
Avey Tare,
Throbbing Gristle,
Pere Ubu,
Make Up, Make Up, Make Up, Make Up.
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.