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 Ukraine 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 1965 to 1977.
I'm losing my edge.
To all the kids in Halifax and Portland.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator 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 The New Christs to the techno kids.
I played it at Cafe Wha.
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 Frankie Knuckles. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama 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?
Parry Music,
Derrick May,
Crime,
Stereo Dub,
The Associates,
Oblivians,
Boredoms,
Nick Fraelich,
Girls At Our Best!,
Spandau Ballet,
Cabaret Voltaire,
Popol Vuh,
Selector Dub Narcotic,
Jeff Lynne,
Dead Boys,
Blancmange,
Can,
Radiohead,
Sam Rivers,
Siouxsie and the Banshees,
Gabor Szabo,
Flamin' Groovies,
The Remains,
Barbara Tucker,
Ice-T,
Grandmaster Flash,
Swell Maps,
The Names,
Crash Course in Science,
Second Layer,
Josef K,
Notorious BIG live in Amsterdam,
Erykah Badu,
China Crisis,
Inner City,
Black Sheep,
The Star Department,
UT,
Crooked Eye,
Morten Harket,
The Evens,
Niagra,
Brick,
Eric Copeland,
Maurizio,
Don Cherry,
Blossom Toes,
Moebius,
The Wake,
Fifty Foot Hose,
Nils Olav,
The Chocolate Watch Band,
Nirvana,
Country Joe & The Fish,
Scratch Acid,
The Alarm Clocks,
Aural Exciters,
Heaven 17,
Mars,
Radio Birdman,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.