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 Sweden and from Manila.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Rosa Yemen to the dance kids.
I played it at Trash.
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 Public Enemy. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
a-ha,
Kas Product,
Ronan,
Pussy Galore,
Bill Wells,
Royal Trux,
Index,
Yusef Lateef,
Minnie Riperton,
Arab on Radar,
the Swans,
Average White Band,
Nils Olav,
Chrome,
Susan Cadogan,
Shoche,
Electric Prunes,
Lakeside,
The Skatalites,
The Birthday Party,
Echo & the Bunnymen,
Grandmaster Flash,
Con Funk Shun,
John Lydon,
The Real Kids,
Ice-T,
London Community Gospel Choir,
The Mojo Men,
Little Man,
Simply Red,
Black Flag,
The Smiths,
Glenn Branca,
Section 25,
the Soft Cell,
Vainqueur,
Country Teasers,
Rosa Yemen,
Be Bop Deluxe,
Blossom Toes,
Kauko Röyhkä ja Narttu,
Tears for Fears,
Harpers Bizarre,
The Mighty Diamonds,
Au Pairs,
Moebius,
Schoolly D,
The Index,
The Alarm Clocks,
Johnny Osbourne,
The Fugs,
Marmalade,
Marine Girls,
Grauzone,
Inner City,
Drexciya,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.