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 Ireland 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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Sugar Minott to the rap kids.
I played it at the Astoria.
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 The Fugs. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal grime 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Graham Central Station,
John Holt,
Rufus Thomas,
Heaven 17,
Silicon Teens,
Junior Murvin,
The Leaves,
Bizarre Inc.,
Avey Tare's Slasher Flicks,
Siglo XX,
Urselle,
Sight & Sound,
Neu!,
Man Eating Sloth,
The Birthday Party,
Althea and Donna,
The Slackers,
Circle Jerks,
Grauzone,
Lucky Dragons,
Bobby Womack,
Marine Girls,
MC5,
Con Funk Shun,
Lou Christie,
Ossler,
Gastr Del Sol,
Aural Exciters,
Kerrie Biddell,
Barrington Levy,
Q65,
Grandmaster Flash and the Furious Five,
Big Daddy Kane,
Notorious BIG live in Amsterdam,
Vladislav Delay,
In Retrospect,
The Remains,
PIL,
Chris & Cosey,
Beasts of Bourbon,
Icehouse,
Depeche Mode,
Avey Tare & Kría Brekkan,
The Sonics,
Fat Boys,
Ultravox,
Howard Jones,
The Moody Blues,
Nik Kershaw,
Aswad,
Anthony Braxton,
Hot Snakes,
Jeru the Damaja,
Negative Approach,
Dawn Penn,
Stereo Dub,
Jandek,
David McCallum,
Magazine,
ABC,
Flipper,
Drive Like Jehu,
Whodini, Whodini, Whodini, Whodini.
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.