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 Tuvalu and from Johannesburg.
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 Mumbai and Salvador.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Connie Case to the dance kids.
I played it at the Astoria.
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 Soul II Soul. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Sarah Menescal,
Jerry's Kids,
Anakelly,
X-Ray Spex,
X-102,
Don Cherry,
The Moody Blues,
A Certain Ratio,
Kerrie Biddell,
Crooked Eye,
Sound Behaviour,
Selector Dub Narcotic,
Nico,
Quantec,
Pylon,
Soft Cell,
Eden Ahbez,
Thinking Fellers Union Local 282,
The Doobie Brothers,
Sister Nancy,
Erasure,
E-Dancer,
Unrelated Segments,
Ohio Players,
Mantronix,
Sonic Youth,
Yusef Lateef,
The Cure,
EPMD,
John Holt,
The Chocolate Watch Band,
Röyhkä ja Rättö ja Lehtisalo,
Sex Pistols,
Blancmange,
Model 500,
Marine Girls,
The Last Poets,
Man Parrish,
Stereo Dub,
The Residents,
The American Breed,
Fort Wilson Riot,
Qualms,
The Doors,
Accadde A,
Ajijia Myrayebe,
Sight & Sound,
Gregory Isaacs,
Blossom Toes,
Slave,
Radiohead,
PIL,
KRS-One,
Marvin Gaye,
Chris & Cosey,
Harpers Bizarre,
Shoche,
Wighnomy Brothers & Robag Wruhme,
Grey Daturas,
The Evens,
Liliput,
Y Pants, Y Pants, Y Pants, Y Pants.
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.