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 Macedonia and from Hong Kong.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Portland 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Goldenarms to the techno kids.
I played it at the Hacienda.
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 Mandrill. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Scan 7,
The Sound,
Alison Limerick,
Gian Franco Pienzio,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Crime,
Quando Quango,
Gastr Del Sol,
Blancmange,
The Pop Group,
Camberwell Now,
Iggy Pop,
Fort Wilson Riot,
Colin Newman,
Cameo,
Babytalk,
Todd Rundgren,
Scott Walker,
Unrelated Segments,
Stockholm Monsters,
Cybotron,
Lindisfarne,
Rhythim Is Rhythim,
A Certain Ratio,
Flash Fearless,
UT,
Oppenheimer Analysis,
Spoonie Gee,
The Flesh Eaters,
Aloha Tigers,
kango's stein massive,
Cal Tjader,
Erasure,
Livin' Joy,
Eddi Front,
The Doors,
Angels of Light & Akron/Family,
John Foxx,
Fugazi,
Organ,
Scott Walker + Sunn O))),
Skaos,
Derrick Morgan,
Bobby Womack,
Eric Copeland,
Drexciya,
Quadrant,
The Knickerbockers,
B.T. Express,
Ohio Players,
Lizzy Mercier Descloux,
The Music Machine,
Dorothy Ashby,
Magazine,
Soft Machine,
D'Angelo,
Wally Richardson,
Pulsallama,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.