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 Dominican Republic and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1977.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Unwound to the funk kids.
I played it at the 40 Watt.
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 Porter Ricks. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
The Gories,
Pierre Henry,
Letta Mbulu,
Eric Dolphy,
Porter Ricks,
The Young Rascals,
Urselle,
L. Decosne,
Pharaoh Sanders and the Fire Engines,
MDC,
John Foxx,
Nation of Ulysses,
Eli Mardock,
Subhumans,
Roxy Music,
Basic Channel,
The Remains,
Electric Prunes,
Sister Nancy,
Robert Hood,
N.O.R.E. Featuring Pharrell,
Swell Maps,
Saccharine Trust,
Alton Ellis,
Roy Ayers Ubiquity,
Laurel Aitken,
ABBA,
Sound Behaviour,
Grauzone,
EPMD,
The Toasters,
Hot Snakes,
The Gun Club,
Symarip,
Absolute Body Control,
OOIOO,
Graham Central Station,
Hasil Adkins,
Vainqueur,
cv313,
Kool G Rap & DJ Polo,
Notorious Big And Bone Thugs,
Black Sheep,
Dark Day,
Malaria!,
Cymande,
Easy Going,
Gang Gang Dance,
Peter and Kerry,
Nirvana,
The Leaves,
Freddie Wadling,
Tropical Tobacco,
Kayak,
Slave,
Jeff Mills,
Soulsonic Force,
Arab on Radar,
Liaisons Dangereuses,
Cabaret Voltaire,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.