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 Malaysia and from Houston.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Salvador 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 Robert Palmer 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 Faust to the grime kids.
I played it at the 40 Watt.
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 Jesper Dahlbäck. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Underground Resistance 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Dorothy Ashby,
Fat Boys,
H. Thieme,
The Red Krayola,
Little Man,
Nik Kershaw,
Fort Wilson Riot,
B.T. Express,
Teenage Jesus and the Jerks,
Wings,
Oppenheimer Analysis,
Pharaoh Sanders and the Fire Engines,
Cluster,
The Zeros,
Bill Wells,
Mandrill,
Sonic Youth,
Franke,
Henry Cow,
cv313,
World's Most,
Arcadia,
Marcia Griffiths,
JFA,
The Alarm Clocks,
Terry Callier,
Drexciya,
Sällskapet,
Cal Tjader,
Bang On A Can,
Grey Daturas,
Drive Like Jehu,
Ice-T,
Unwound,
Gil Scott-Heron & Brian Jackson,
AZ,
Audionom,
The Doors,
DJ Style,
Supertramp,
In Retrospect,
Neil Young,
Piero Umiliani,
Electric Light Orchestra,
Marmalade,
The Music Machine,
Boogie Down Productions,
Pere Ubu,
Q65,
Brick,
Bootsy Collins,
Grandmaster Flash and the Furious Five,
Oneida,
Sight & Sound,
Pantytec,
The Human League,
Captain Beefheart & His Magic Band,
The Dirtbombs,
Glenn Branca,
The Slackers,
The Mojo Men,
Sarah Menescal,
Malaria!,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.