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 Tonga and from Lille.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Calgary.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Unrelated Segments to the crunk 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 The Cosmic Jokers. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
The Divine Comedy,
Sonny Sharrock,
Angels of Light & Akron/Family,
James Chance & The Contortions,
Nirvana,
Swans,
Girls At Our Best!,
This Heat,
Sly & The Family Stone,
Country Teasers,
Davy DMX,
Lower 48,
The Young Rascals,
Audionom,
Gastr Del Sol,
Funky Four + One,
Tropical Tobacco,
Eli Mardock,
Jimmy McGriff,
Gian Franco Pienzio,
Agent Orange,
Infiniti,
The Fire Engines,
Sound Behaviour,
Minutemen,
Yusef Lateef,
Pharaoh Sanders and the Fire Engines,
De La Soul & Jungle Brothers,
Sam Rivers,
Porter Ricks,
Sight & Sound,
Marmalade,
Delon & Dalcan,
10cc,
Crooked Eye,
John Coltrane,
Bush Tetras,
Erykah Badu,
Eric B and Rakim,
Maurizio,
Drexciya,
Robert Hood,
Pierre Henry,
Aaron Thompson,
Marc Romboy vs. Booka Shade,
Fugazi,
Kerri Chandler,
Icehouse,
Mission of Burma,
The Peanut Butter Conspiracy,
Siouxsie and the Banshees,
Grauzone,
Desert Stars,
Roxy Music,
Ralphi Rosario,
Yazoo,
The Durutti Column,
UT,
Ultravox,
Art Ensemble Of Chicago,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.