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 Grenada and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1977.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Lagos 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 The Royal Family And The Poor to the disco kids.
I played it at the Hacienda.
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 Quantec. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Black Moon 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 '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Ornette Coleman,
The Alarm Clocks,
Byron Stingily,
Gichy Dan,
Barbara Tucker,
The Cowsills,
The Remains,
Schoolly D,
The Mojo Men,
Zero Boys,
Kurtis Blow,
Nick Fraelich,
Japan,
Barclay James Harvest,
One Last Wish,
Carl Craig,
Bauhaus,
Loose Ends,
Eric B and Rakim,
the Human League,
Swans,
Wolf Eyes,
Sixth Finger,
Jeff Lynne,
T.S.O.L.,
Jeff Mills,
Simply Red,
Talk Talk,
Joyce Sims,
Chris & Cosey,
Saccharine Trust,
Guru Guru,
The Invisible,
Louis and Bebe Barron,
The J.B.'s,
Josef K,
Lalo Schifrin,
The Divine Comedy,
Groovy Waters,
Strawberry Alarm Clock,
Tropical Tobacco,
The Gun Club,
Skriet,
The Sisters of Mercy,
Subhumans,
Scratch Acid,
Eddi Front,
Soul II Soul,
Dark Day,
The Mummies,
Brothers Johnson,
Soul Sonic Force,
Magazine,
Clear Light,
Urselle,
Neil Young,
Flipper,
Dead Boys,
Kerri Chandler,
Ultravox, Ultravox, Ultravox, Ultravox.
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.