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 Bangladesh and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Houston 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 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 Symarip to the punk kids.
I played it at the Troubador.
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 Thompson Twins. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Gang Green 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Maleditus Sound,
Fifty Foot Hose,
OOIOO,
Slave,
Agitation Free,
Louis and Bebe Barron,
DJ Style,
Suburban Knight,
Joey Negro,
Pete Rock & C.L. Smooth,
the Normal,
Wasted Youth,
Ajijia Myrayebe,
Eddi Front,
Barry Ungar,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lebanon Hanover,
John Foxx,
Erasure,
Grandmaster Flash and the Furious Five,
PIL,
The Toasters,
Pole,
L. Decosne,
Jawbox,
Pharoah Sanders,
Bush Tetras,
Matthew Bourne,
The Gories,
Kool G Rap & DJ Polo,
Inner City,
Lalo Schifrin,
Altered Images,
Minnie Riperton,
Urselle,
The American Breed,
Section 25,
Carl Craig,
Stockholm Monsters,
Matthew Halsall,
Eric Dolphy,
Von Mondo,
Siouxsie and the Banshees,
The Smiths,
Eric Copeland,
Cymande,
The Monks,
Bauhaus,
Pet Shop Boys,
The Seeds,
Radiohead,
The Royal Family And The Poor,
Nas,
The Residents,
Faraquet,
Funky Four + One,
Sugar Minott,
Cabaret Voltaire,
Marcia Griffiths,
B.T. Express,
Bobby Byrd,
Al Stewart,
Quantec, Quantec, Quantec, Quantec.
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.