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 Israel and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Mexico City 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 H. Thieme to the funk kids.
I played it at the Hacienda.
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 Scratch Acid. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Fad Gadget,
Bang on a Can All-Stars,
Minny Pops,
Simply Red,
Sound Behaviour,
Bizarre Inc.,
Bootsy Collins,
Danielle Patucci,
Buzzcocks,
Liliput,
Sad Lovers and Giants,
Brass Construction,
Hot Snakes,
Rites of Spring,
Pantytec,
The Golliwogs,
The Alarm Clocks,
Banda Bassotti,
The Litter,
Rufus Thomas,
Parry Music,
Michelle Simonal,
Man Eating Sloth,
Wire,
Graham Central Station,
A Certain Ratio,
Bush Tetras,
the Human League,
Thee Headcoats,
Kings Of Tomorrow,
Pantaleimon,
Oneida,
Notorious Big And Bone Thugs,
The Tremeloes,
LL Cool J,
Fluxion,
The Techniques,
Robert Hood,
The Red Krayola,
Pierre Henry,
Crispy Ambulance,
Public Image Ltd.,
Arthur Verocai,
Kaleidoscope,
The Raincoats,
The Slits,
Henry Cow,
Gregory Isaacs,
Accadde A,
Pharaoh Sanders and the Fire Engines,
Average White Band,
Delta 5,
Little Man,
Peter and Kerry,
Porter Ricks,
The Dave Clark Five,
The Index,
E-Dancer,
Junior Murvin,
Robert Görl,
The Sonics,
The Seeds,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.