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 Tanzania and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Milan 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 Black Bananas to the funk kids.
I played it at Cafe Wha.
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 Monolake. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Magma 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Nation of Ulysses,
The Pop Group,
Whodini,
Frankie Knuckles,
Laurel Aitken,
Joe Finger,
Absolute Body Control,
The Cramps,
Soft Cell,
Rosa Yemen,
Dr. Dre and Snoop Doggy Dog,
Matthew Bourne,
Harmonia,
Second Layer,
Gil Scott-Heron and Jamie xx,
Altered Images,
Scientists,
The Mighty Diamonds,
Kaleidoscope,
The Moleskins,
Grandmaster Flash and the Furious Five,
Danielle Patucci,
Andrew Hill,
Bauhaus,
Fifty Foot Hose,
Junior Murvin,
Connie Case,
U.S. Maple,
Ponytail,
Charles Mingus,
The Associates,
Rapeman,
Red Lorry Yellow Lorry,
Scion,
The Velvet Underground,
The Fortunes,
Cluster,
Gang Green,
Aloha Tigers,
Fear,
Ralphi Rosario,
Art Ensemble Of Chicago,
Unrelated Segments,
Mandrill,
48th St. Collective,
John Holt,
Wolf Eyes,
The Gories,
Curtis Mayfield,
Gian Franco Pienzio,
Eyeless In Gaza,
Jeff Lynne,
The Modern Lovers,
Bronski Beat,
Nick Fraelich,
Minor Threat,
Urselle,
David Bowie,
Siouxsie and the Banshees,
The Toasters,
cv313,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.