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 Iraq and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Halifax 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Ossler to the jazz kids.
I played it at the Roxy.
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 H. Thieme. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every The Wake 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish 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?
Freddie Wadling,
The Sisters of Mercy,
Jesper Dahlback,
Joensuu 1685,
Young Marble Giants,
The Knickerbockers,
Avey Tare & Kría Brekkan,
Inner City,
Harmonia,
Moebius,
Glenn Branca,
Public Image Ltd.,
The Move,
Massinfluence,
kango's stein massive,
JFA,
Judy Mowatt,
Peter & Gordon,
Kas Product,
Teenage Jesus and the Jerks,
Public Enemy,
The Moody Blues,
Roxy Music,
La Düsseldorf,
Grey Daturas,
Sad Lovers and Giants,
The Divine Comedy,
New York Dolls,
Black Flag,
Janne Schatter,
Masters at Work,
June of 44,
Bizarre Inc.,
Bobby Womack,
Grauzone,
Radiopuhelimet,
Swans,
Quadrant,
The Mighty Diamonds,
The Slackers,
Alton Ellis,
Gil Scott-Heron & Brian Jackson,
Kerrie Biddell,
Eric B and Rakim,
Lyres,
Agitation Free,
Unrelated Segments,
The Blackbyrds,
The Residents,
Hot Snakes,
Robert Wyatt,
The Monks,
Arthur Verocai,
Negative Approach,
Junior Murvin,
Visionaries,LMNO, T- Love & Iriscience,
Oblivians,
The Fuzztones,
The Modern Lovers,
Terror Squad Feat. Camron,
Spandau Ballet,
Mantronix,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.