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 Benin and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Manchester 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 oboe 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 U.S. Maple to the rock 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 Soulsonic Force. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Reuben Wilson 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 '50s cut and another box set from the '90s.
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 Scratch Acid record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
The Pop Group,
Joy Division,
Sugar Minott,
Wasted Youth,
Lizzy Mercier Descloux,
Interpol,
The Zeros,
Television,
Wings,
Ken Boothe,
Stetsasonic,
Von Mondo,
The Smiths,
The Dirtbombs,
Minny Pops,
Desert Stars,
New Order,
Pete Rock & C.L. Smooth,
Pagans,
Con Funk Shun,
Tom Boy,
Wolf Eyes,
Gang Green,
The Birthday Party,
The Slits,
Camouflage,
The Doobie Brothers,
Clear Light,
Arcadia,
Visionaries,LMNO, T- Love & Iriscience,
Ornette Coleman,
Little Man,
Mars,
DeepChord presents Echospace,
The Music Machine,
Make Up,
Motorama,
Sight & Sound,
Sexual Harrassment,
Black Bananas,
The Smoke,
Index,
Roy Ayers,
China Crisis,
Warsaw,
Niagra,
Max Romeo,
Jesper Dahlback,
Marmalade,
Laurel Aitken,
Rosa Yemen,
Tears for Fears,
Electric Light Orchestra,
Albert Ayler,
Kango’s Stein Massive,
Technova,
Eve St. Jones,
Kas Product,
Ohio Players,
Bill Near, Bill Near, Bill Near, Bill Near.
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.