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 Bahrain and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Audionom to the dance kids.
I played it at the Troubador.
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 Scrapy. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
the Bar-Kays,
K-Klass,
Fela Kuti,
Cymande,
Man Parrish,
The Moleskins,
Camberwell Now,
Television Personalities,
Glenn Branca,
Gil Scott-Heron & Brian Jackson,
Hasil Adkins,
the Normal,
Quadrant,
JFA,
Bauhaus,
Fat Boys,
The Flesh Eaters,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Judy Mowatt,
The Associates,
Brass Construction,
The Star Department,
Au Pairs,
Ituana,
Hoover,
Khruangbin,
Flash Fearless,
The Litter,
Barry Ungar,
Ultravox,
the Fania All-Stars,
Janne Schatter,
Röyhkä ja Rättö ja Lehtisalo,
Infiniti,
Cabaret Voltaire,
Laurel Aitken,
Tommy Roe,
Traffic Nightmare,
The Sonics,
Depeche Mode,
Excepter,
Subhumans,
Brick,
David McCallum,
The Smoke,
The Selecter,
Visage,
Kas Product,
Ludus,
Jesper Dahlback,
Surgeon,
Echospace,
Chris Corsano,
Barbara Tucker,
The Electric Prunes,
Nick Cave & The Bad Seeds,
Wally Richardson,
Lightning Bolt,
Malaria!,
Pylon, Pylon, Pylon, Pylon.
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.