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 Honduras and from Madrid.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Beijing 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the harpsichord 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 Spandau Ballet to the techno 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 Fluxion. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Hoover,
Rowland S Howard / Lydia Lunch,
Neil Young & Crazy Horse,
Sex Pistols,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Bananas,
Lou Reed & John Cale,
The Sound,
Sugar Minott,
Scientists,
Warren Ellis,
CMW,
Flamin' Groovies,
Liaisons Dangereuses,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Television Personalities,
Buzzcocks,
Cluster,
Spoonie Gee,
the Association,
Tears for Fears,
Slave,
Stiv Bators,
Lee Hazlewood,
Pulsallama,
Strawberry Alarm Clock,
Steve Hackett,
Model 500,
Depeche Mode,
The Divine Comedy,
Eden Ahbez,
China Crisis,
the Soft Cell,
The Alarm Clocks,
The J.B.'s,
Fluxion,
The Grass Roots,
Pharaoh Sanders and the Fire Engines,
The Victims,
Eric Copeland,
Delon & Dalcan,
Pharoah Sanders,
Young Marble Giants,
N.O.R.E. Featuring Pharrell,
Gastr Del Sol,
Skriet,
Echospace,
the Slits,
Big Daddy Kane,
Dave Gahan,
Pussy Galore,
John Holt,
Mandrill,
Camron Feat. Memphis Bleek And Beenie Seigel,
Orchestral Manoeuvres in the Dark,
The Index,
Sam Rivers,
Gang Green, Gang Green, Gang Green, Gang Green.
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.