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 Haiti and from Accra.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Sister Nancy to the grunge 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 Television Personalities. All the underground hits.
All Slave 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 punk 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Aaron Thompson,
Neu!,
Tim Buckley,
Sight & Sound,
Jacques Brel,
David Axelrod,
Richard Hell and the Voidoids,
Scott Walker + Sunn O))),
Brass Construction,
The Happenings,
Masters at Work,
The Five Americans,
Andrew Ashong & Theo Parrish,
Crispian St. Peters,
Liliput,
Rekid,
Ponytail,
The Music Machine,
F. McDonald,
Davy DMX,
The Gun Club,
Zero Boys,
Country Teasers,
The Move,
Mary Jane Girls,
Notorious BIG live in Amsterdam,
The Chocolate Watch Band,
Lalo Schifrin,
Duran Duran,
Eli Mardock,
Black Sheep,
The Peanut Butter Conspiracy,
Ajijia Myrayebe,
Sad Lovers and Giants,
Danielle Patucci,
Au Pairs,
The Martian,
Suburban Knight,
Pole,
Ronnie Foster,
The Skatalites,
Tropical Tobacco,
Pharaoh Sanders and the Fire Engines,
Agitation Free,
Terry Callier,
Kool Moe Dee,
Gil Scott-Heron & Brian Jackson,
The Flesh Eaters,
Hardrive,
Television,
Wighnomy Brothers & Robag Wruhme,
Larry & the Blue Notes,
Grandmaster Flash and the Furious Five,
Marshall Jefferson,
Soft Machine,
The Fire Engines,
Gastr Del Sol,
the Bar-Kays,
Bronski Beat,
Aswad,
Procol Harum,
Lyres, Lyres, Lyres, Lyres.
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.