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 Liberia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Eyeless In Gaza to the jazz 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 B.T. Express. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Saints,
Cabaret Voltaire,
Mantronix,
Jesper Dahlback,
Jeff Mills,
the Association,
Nick Fraelich,
New Order,
Nik Kershaw,
Derrick Morgan,
Icehouse,
Notorious BIG live in Amsterdam,
Absolute Body Control,
The Vogues,
Cameo,
Pussy Galore,
Deakin,
Joy Division,
Moss Icon,
Swans,
Gabor Szabo,
The Jesus and Mary Chain,
Cecil Taylor,
The Sisters of Mercy,
The Zeros,
Depeche Mode,
Johnny Clarke,
Scan 7,
Tubeway Army,
Q65,
Gichy Dan,
Jerry Gold Smith,
The Victims,
The Knickerbockers,
Gang Starr,
K-Klass,
Schoolly D,
Electric Prunes,
Eurythmics,
The Golliwogs,
Wire,
Anthony Braxton,
Red Lorry Yellow Lorry,
The Misunderstood,
Dorothy Ashby,
Donny Hathaway,
Wings,
Electric Light Orchestra,
Kerri Chandler,
Echo & the Bunnymen,
Fela Kuti,
Little Man,
World's Most,
Yaz,
Minny Pops,
Arcadia,
This Heat,
The Seeds,
Easy Going, Easy Going, Easy Going, Easy Going.
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.