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 Solomon Islands and from Tehran.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Glasgow 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 a-ha to the dance 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 Chrome. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Intrusion 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
The Happenings,
The Raincoats,
Gastr Del Sol,
Echo & the Bunnymen,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
Von Mondo,
Section 25,
Ten City,
Delta 5,
The Vogues,
Piero Umiliani,
Quantec,
Wolf Eyes,
The Victims,
Warsaw,
Country Teasers,
Oppenheimer Analysis,
kango's stein massive,
10cc,
Animal Collective,
Monks,
Bobbi Humphrey,
Bill Near,
The Cramps,
The Seeds,
Steve Hackett,
Major Organ And The Adding Machine,
Crime,
Brand Nubian,
Magazine,
Ohio Players,
The Last Poets,
Tubeway Army,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Electric Prunes,
Niagra,
Ultra Naté,
Crash Course in Science,
Aloha Tigers,
Excepter,
Ultimate Spinach,
The Velvet Underground,
The Birthday Party,
Curtis Mayfield,
Main Source,
the Swans,
Jerry Gold Smith,
Television,
Roxy Music,
Michelle Simonal,
The Dead C,
The Busters,
Maleditus Sound,
Boogie Down Productions,
Joey Negro,
Bang on a Can All-Stars,
Lalann,
KRS-One,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.