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 Kiribati 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 1965 to 1974.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the crunk kids.
I played it at the Troubador.
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 Gastr Del Sol. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Marcia Griffiths,
Mo-Dettes,
Avey Tare's Slasher Flicks,
John Lydon,
Rosa Yemen,
Dorothy Ashby,
DeepChord presents Echospace,
Animal Collective,
LL Cool J,
Country Teasers,
Sly & The Family Stone,
The Music Machine,
Cal Tjader,
Kaleidoscope,
Tommy Roe,
Colin Newman,
Cybotron,
The Red Krayola,
The Techniques,
Althea and Donna,
Lafayette Afro Rock Band,
Symarip,
In Retrospect,
Neil Young,
Matthew Halsall,
Black Sheep,
Lungfish,
Sunsets and Hearts,
Dawn Penn,
Pierre Henry,
Derrick Morgan,
X-Ray Spex,
Throbbing Gristle,
Robert Hood,
Rowland S Howard / Lydia Lunch,
Rahsaan Roland Kirk,
Leonard Cohen,
X-101,
Roxy Music,
The American Breed,
the Swans,
Amon Düül II,
Vainqueur,
Ituana,
The United States of America,
Jandek,
H. Thieme,
Joensuu 1685,
Maleditus Sound,
Trumans Water,
Technova,
Gang Starr,
KRS-One,
Nick Fraelich,
Niagra,
The Dead C,
Sandy B,
Frankie Knuckles,
Blake Baxter,
Kerri Chandler,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.