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 Bhutan 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 1965 to 1971.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Taipei 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 Nile Rodgers 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 The Smiths to the disco kids.
I played it at the 40 Watt.
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 Mars. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Gichy Dan 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Kenny Larkin,
Fear,
Don Cherry,
Essential Logic,
Urselle,
The Seeds,
Massinfluence,
Kayak,
Bronski Beat,
Wire,
the Fania All-Stars,
Fat Boys,
Buzzcocks,
Japan,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
Joe Finger,
The Fuzztones,
Groovy Waters,
The Flesh Eaters,
Harpers Bizarre,
The Associates,
Black Pus,
The Smiths,
Scratch Acid,
Mo-Dettes,
Alice Coltrane,
Flipper,
Ponytail,
Rotary Connection,
Johnny Clarke,
Stockholm Monsters,
Tim Buckley,
The Royal Family And The Poor,
Rhythim Is Rhythim,
Zero Boys,
Wighnomy Brothers & Robag Wruhme,
DJ Style,
Sam Rivers,
Intrusion,
Monks,
Mandrill,
Slave,
Thee Headcoats,
Accadde A,
Cybotron,
Lyres,
Ultramagnetic MC's,
Simply Red,
A Flock of Seagulls,
Larry & the Blue Notes,
Nation of Ulysses,
Lebanon Hanover,
Wally Richardson,
Gong,
Roger Hodgson,
Cluster,
Jacques Brel,
The Cramps,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.