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 Mexico and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Grey Daturas to the funk 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 Joey Negro. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
The Neon Judgement,
48th St. Collective,
Oblivians,
Ronan,
The Walker Brothers,
Black Flag,
Monks,
X-102,
The Stooges,
Yusef Lateef,
Essential Logic,
Deutsch Amerikanische Freundschaft,
Joe Finger,
Robert Hood,
Hashim,
Nils Olav,
Drive Like Jehu,
One Last Wish,
Masters at Work,
Mark Hollis,
Vainqueur,
Lou Reed & Metallica,
Avey Tare,
Josef K,
Easy Going,
Neu!,
Terry Callier,
Bauhaus,
Nik Kershaw,
DeepChord presents Echospace,
Marvin Gaye,
Main Source,
Subhumans,
Banda Bassotti,
Ornette Coleman,
Minny Pops,
Organ,
Derrick Morgan,
Henry Cow,
Bad Manners,
Lalo Schifrin,
Brand Nubian,
New Order,
Hasil Adkins,
Arthur Verocai,
Sunsets and Hearts,
Mad Mike,
Toni Rubio,
Morten Harket,
Al Stewart,
The Residents,
Simply Red,
Pete Rock & C.L. Smooth,
The Sisters of Mercy,
The Knickerbockers,
Todd Terry,
Ituana,
Marmalade,
Malaria!,
the Sonics,
Andrew Hill,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.