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 Papua New Guinea and from Tokyo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Sad Lovers and Giants to the crunk 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 Au Pairs. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Sugar Minott,
Hot Snakes,
Lyres,
DeepChord presents Echospace,
Saccharine Trust,
Lou Reed & Metallica,
the Human League,
Echo & the Bunnymen,
John Holt,
Bobby Sherman,
Tubeway Army,
Black Flag,
The Last Poets,
David Axelrod,
Smog,
Nik Kershaw,
The Standells,
U.S. Maple,
New York Dolls,
The Names,
Soft Machine,
Inner City,
Nick Fraelich,
Jimmy McGriff,
the Sonics,
Tommy Roe,
Kevin Saunderson,
Oppenheimer Analysis,
Q65,
Gang Starr,
Chris Corsano,
Joyce Sims,
The Martian,
Sonny Sharrock,
Glambeats Corp.,
Ludus,
Technova,
Robert Görl,
the Swans,
Deutsch Amerikanische Freundschaft,
The Pop Group,
Gil Scott-Heron & Brian Jackson,
Big Daddy Kane,
Marshall Jefferson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mission of Burma,
Pussy Galore,
Boz Scaggs,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
Gary Puckett & The Union Gap,
Rites of Spring,
The Birthday Party,
Dennis Brown,
Gichy Dan,
The Knickerbockers,
The Durutti Column,
Ronnie Foster,
Metal Thangz,
Faust,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.