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 St Lucia and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Skriet to the disco 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 Ponytail. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Art Ensemble Of Chicago,
The Star Department,
Organ,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays,
Supertramp,
Neu!,
Pharoah Sanders,
Aaron Thompson,
Infiniti,
Mark Hollis,
Babytalk,
Johnny Clarke,
London Community Gospel Choir,
Hashim,
The Golliwogs,
Radio Birdman,
Sarah Menescal,
Bill Wells,
kango's stein massive,
The Fire Engines,
Main Source,
Dawn Penn,
Wighnomy Brothers & Robag Wruhme,
Symarip,
In Retrospect,
Minor Threat,
Danielle Patucci,
Andrew Ashong & Theo Parrish,
Black Pus,
Skriet,
X-102,
Crooked Eye,
The Buckinghams,
Jesper Dahlbäck,
The Modern Lovers,
Gil Scott-Heron and Jamie xx,
Dark Day,
Rekid,
Susan Cadogan,
Laurel Aitken,
The Names,
Janne Schatter,
Negative Approach,
Bobby Sherman,
Gerry Rafferty,
Sound Behaviour,
The Monks,
Rites of Spring,
Bush Tetras,
Malaria!,
Cymande,
Skarface,
Shuggie Otis,
Gary Puckett & The Union Gap,
Technova,
The Sisters of Mercy,
Brand Nubian,
Index,
The Flesh Eaters,
Audionom,
The Residents, The Residents, The Residents, The Residents.
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.