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 San Marino and from Hong Kong.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Robert Palmer 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 Henry Cow to the dance kids.
I played it at the Crocodile.
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 Sandy B. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Harry Pussy,
Arthur Verocai,
Althea and Donna,
the Normal,
The Index,
Agitation Free,
Kevin Saunderson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hardrive,
Anthony Braxton,
Scott Walker,
The Slackers,
Bad Manners,
One Last Wish,
Soft Cell,
Rahsaan Roland Kirk,
The Star Department,
Animal Collective,
Television,
Neil Young,
The Saints,
R.M.O.,
Dark Day,
Circle Jerks,
LL Cool J,
Quadrant,
Drexciya,
Yusef Lateef,
Gregory Isaacs,
Clear Light,
Section 25,
Jerry Gold Smith,
The Toasters,
The Blues Magoos,
John Lydon,
Second Layer,
Alice Coltrane,
Ituana,
Cabaret Voltaire,
The Shadows of Knight,
Roxette,
Archie Shepp,
Mission of Burma,
Camouflage,
Young Marble Giants,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Roy Ayers Ubiquity,
Amon Düül,
Andrew Ashong & Theo Parrish,
MC5,
Eddi Front,
Soul Sonic Force,
Be Bop Deluxe,
Thinking Fellers Union Local 282,
Skriet,
Drive Like Jehu,
Mad Mike,
Vainqueur,
Swell Maps,
Albert Ayler,
Shoche, Shoche, Shoche, Shoche.
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.