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 San Marino and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Tokyo and Spokane.
I'm losing my edge to the art-school Woodstock 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 Tom Verlaine 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 Techniques to the funk kids.
I played it at the Spitz.
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 Au Pairs. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Super Lover Cee & Casanova Rud,
Underground Resistance,
Buzzcocks,
Fela Kuti,
Thee Headcoats,
Audionom,
Lyres,
Eyeless In Gaza,
Tropical Tobacco,
Nik Kershaw,
Black Pus,
Pussy Galore,
The Monochrome Set,
UT,
The Remains,
The Star Department,
Bobbi Humphrey,
Dual Sessions,
Teenage Jesus and the Jerks,
Art Ensemble Of Chicago,
Dorothy Ashby,
Moby Grape,
Sonic Youth,
Vainqueur,
Skarface,
Bootsy Collins,
Trumans Water,
Black Flag,
Lou Reed & John Cale,
Amon Düül II,
A Flock of Seagulls,
Lakeside,
Sister Nancy,
The Moleskins,
Stockholm Monsters,
Grandmaster Flash,
Minor Threat,
Motorama,
Stiv Bators,
Marcia Griffiths,
The Names,
Babytalk,
Excepter,
Fear,
Whodini,
The Mojo Men,
Alton Ellis,
Terrestrial Tones,
The Residents,
Cluster,
Monks,
Saccharine Trust,
The Neon Judgement,
Altered Images,
Nico,
LL Cool J,
Archie Shepp,
The Gap Band,
Rapeman,
Carl Craig,
Glambeats Corp.,
Grauzone,
The Slackers, The Slackers, The Slackers, The Slackers.
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.