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 Venezuela and from Spokane.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Graham Central Station to the dance kids.
I played it at the Crocodile.
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 Roy Ayers. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal punk 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 a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Ice-T,
Television,
Ronan,
Kevin Saunderson,
Andrew Ashong & Theo Parrish,
MC5,
the Association,
Loose Ends,
Man Eating Sloth,
Parry Music,
The Monks,
Urselle,
Derrick May,
Zapp,
Janne Schatter,
Barry Ungar,
Soulsonic Force,
Marc Almond,
Ludus,
Oppenheimer Analysis,
Sonic Youth,
Funkadelic,
Neu!,
Crash Course in Science,
Derrick Morgan,
Ohio Players,
Y Pants,
Crispian St. Peters,
The New Christs,
Rhythm & Sound,
Fort Wilson Riot,
The Men They Couldn't Hang,
Colin Newman,
The J.B.'s,
Kings Of Tomorrow,
Swans,
The Moody Blues,
Gregory Isaacs,
Barrington Levy,
T. Rex,
Grauzone,
Erykah Badu,
Sad Lovers and Giants,
Jerry Gold Smith,
Stereo Dub,
Crispy Ambulance,
Tears for Fears,
Frankie Knuckles,
Don Cherry,
Reagan Youth,
These Immortal Souls,
Flash Fearless,
Aural Exciters,
Half Japanese,
Aaron Thompson,
The Slits,
Amon Düül II,
Drexciya,
Stiv Bators,
Schoolly D,
Von Mondo,
Make Up, Make Up, Make Up, Make Up.
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.