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 Costa Rica and from Lyon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Manila 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 guitar 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 Throbbing Gristle to the funk 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 Pantaleimon. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Sound Behaviour 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
DJ Sneak,
Robert Görl,
Suicide,
Agitation Free,
Ornette Coleman,
Blancmange,
The Peanut Butter Conspiracy,
Rakim,
Kevin Saunderson,
Ten City,
X-101,
La Düsseldorf,
The Walker Brothers,
Frankie Knuckles,
Traffic Nightmare,
Morten Harket,
U.S. Maple,
Graham Central Station,
Ultravox,
Surgeon,
Kool G Rap & DJ Polo,
Brothers Johnson,
Basic Channel,
Orchestral Manoeuvres in the Dark,
Gian Franco Pienzio,
Banda Bassotti,
Roger Hodgson,
Metal Thangz,
Icehouse,
Brand Nubian,
Joyce Sims,
Arthur Verocai,
Soft Cell,
The American Breed,
Angry Samoans,
The Count Five,
Rufus Thomas,
Jerry Gold Smith,
Barbara Tucker,
Derrick Morgan,
Fifty Foot Hose,
Sam Rivers,
Pete Rock & C.L. Smooth,
Public Enemy,
Jesper Dahlback,
Bill Wells,
Crispian St. Peters,
Infiniti,
the Association,
The Martian,
Avey Tare & Kría Brekkan,
June of 44,
Lizzy Mercier Descloux,
Jawbox,
The Remains,
The Fall,
Moebius,
Wasted Youth,
The Jesus and Mary Chain,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.