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 Ivory Coast and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Mumbai.
I'm losing my edge to the art-school Edmonton 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 clarinet sounds with much patience.
I was there when David Bowie 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 Neu! to the jazz kids.
I played it at the Troubador.
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 John Lydon. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Motorama,
ABBA,
Joensuu 1685,
Model 500,
Arcadia,
Ultravox,
The Gap Band,
Banda Bassotti,
Kool G Rap & DJ Polo,
Brothers Johnson,
The Motions,
Pierre Henry,
Circle Jerks,
Tears for Fears,
Graham Central Station,
La Düsseldorf,
Gregory Isaacs,
Gary Puckett & The Union Gap,
Judy Mowatt,
Inner City,
Soft Machine,
Laurel Aitken,
Don Cherry,
Morten Harket,
The Raincoats,
Big Daddy Kane,
The Seeds,
Blake Baxter,
Derrick May,
FM Einheit,
Sällskapet,
Gil Scott-Heron & Brian Jackson,
Lightning Bolt,
Infiniti,
E-Dancer,
David McCallum,
Swans,
Dawn Penn,
Pantytec,
The Kinks,
The Vogues,
Captain Beefheart & His Magic Band,
The Sisters of Mercy,
Rosa Yemen,
Symarip,
Angry Samoans,
Black Pus,
James Chance & The Contortions,
F. McDonald,
Grandmaster Flash,
Roxy Music,
Y Pants,
Desert Stars,
Eric Copeland,
Royal Trux,
Kango’s Stein Massive,
Red Lorry Yellow Lorry,
The Alarm Clocks,
Unwound,
Youth Brigade,
Deutsch Amerikanische Freundschaft,
Little Man,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.