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 Korea North and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1970.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Jakarta 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 CMW to the grunge kids.
I played it at the Spitz.
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 Gerry Rafferty. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Eli Mardock,
Marshall Jefferson,
Derrick Morgan,
Monolake,
Jerry's Kids,
Be Bop Deluxe,
Rapeman,
Rakim,
the Human League,
Sonny Sharrock,
Colin Newman,
Nico,
Crispian St. Peters,
Gil Scott Heron,
Roxy Music,
FM Einheit,
Quando Quango,
The Seeds,
June of 44,
Joy Division,
Maurizio,
Carl Craig,
These Immortal Souls,
The Evens,
Gian Franco Pienzio,
Bootsy Collins,
Hasil Adkins,
The Dave Clark Five,
Q and Not U,
Sister Nancy,
Dennis Brown,
Harpers Bizarre,
The Royal Family And The Poor,
The Mummies,
Avey Tare's Slasher Flicks,
Chrome,
Henry Cow,
LL Cool J,
The Gun Club,
Mr. Review,
Curtis Mayfield,
Lungfish,
The J.B.'s,
Brothers Johnson,
Vaughan Mason & Crew,
Toni Rubio,
Magma,
The West Coast Pop Art Experimental Band,
The Young Rascals,
Con Funk Shun,
Donny Hathaway,
Visage,
Echospace,
The Jesus and Mary Chain,
Andrew Hill,
Dorothy Ashby,
Kerrie Biddell,
Das Ding,
Liliput,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.