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 Bahamas and from Bremen.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Stockholm 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 theremin 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 Crooked Eye to the techno 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 Eric Dolphy. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Reagan Youth 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Tubeway Army,
Zapp,
U.S. Maple,
The Walker Brothers,
Ultimate Spinach,
Minor Threat,
The Raincoats,
Cecil Taylor,
The Monks,
Maleditus Sound,
the Bar-Kays,
Reagan Youth,
James White and The Blacks,
Brick,
Pulsallama,
L. Decosne,
Pharoah Sanders,
Pagans,
Colin Newman,
The Count Five,
Lungfish,
The Birthday Party,
The Smoke,
Kaleidoscope,
Sun Ra,
Archie Shepp,
Junior Murvin,
Altered Images,
B.T. Express,
The Blues Magoos,
Camberwell Now,
De La Soul & Jungle Brothers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Crash Course in Science,
Glenn Branca,
Joe Smooth,
Little Man,
Nas,
Thinking Fellers Union Local 282,
Q65,
Aaron Thompson,
The Detroit Cobras,
Blake Baxter,
Connie Case,
Donald Byrd,
ABC,
Thompson Twins,
Absolute Body Control,
Sound Behaviour,
Lindisfarne,
The American Breed,
a-ha,
The Alarm Clocks,
Stockholm Monsters,
Outsiders,
The Music Machine,
Jerry Gold Smith,
Sex Pistols,
Kauko Röyhkä ja Narttu,
Steve Hackett,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.