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 Dominica and from New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 R.M.O. to the techno kids.
I played it at Trash.
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 Erasure. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Television 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Dirtbombs,
Fat Boys,
Neil Young & Crazy Horse,
Procol Harum,
Basic Channel,
Ash Ra Tempel,
Aloha Tigers,
Hasil Adkins,
It's A Beautiful Day,
Chrome,
Motorama,
The Motions,
The Toasters,
Eli Mardock,
Bill Wells,
Orchestral Manoeuvres in the Dark,
Oppenheimer Analysis,
KRS-One,
the Bar-Kays,
Joe Finger,
the Swans,
The Skatalites,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kool Moe Dee,
Big Daddy Kane,
PIL,
Throbbing Gristle,
Khruangbin,
Carl Craig,
The Doors,
Gregory Isaacs,
The Monochrome Set,
The Peanut Butter Conspiracy,
H. Thieme,
Wings,
Marvin Gaye,
The Cowsills,
Icehouse,
Jerry Gold Smith,
FM Einheit,
Dual Sessions,
Terry Callier,
JFA,
Qualms,
Camron Feat. Jay Z And Juelz,
Sugar Minott,
Radio Birdman,
The West Coast Pop Art Experimental Band,
Funkadelic,
Faust,
Model 500,
Circle Jerks,
Tubeway Army,
Black Bananas,
Sam Rivers,
Kas Product,
Electric Prunes,
Mary Jane Girls,
U.S. Maple,
CMW,
The Litter,
The American Breed,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.