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 Guinea-Bissau and from Cairo.
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 1960 to 1970.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Accra 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 clarinet 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 Vladislav Delay 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 The Dirtbombs. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Hot Snakes 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Fall,
Pharaoh Sanders and the Fire Engines,
Marc Almond,
Sun Ra Arkestra,
Slave,
Monolake,
Spandau Ballet,
Soft Machine,
K-Klass,
Wolf Eyes,
Teenage Jesus and the Jerks,
Ohio Players,
ABC,
Sandy B,
Lonnie Liston Smith,
Ralphi Rosario,
H. Thieme,
Gregory Isaacs,
The Skatalites,
Public Enemy,
China Crisis,
The Remains,
Con Funk Shun,
Blossom Toes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Avey Tare & Kría Brekkan,
Interpol,
Underground Resistance,
Brand Nubian,
Deutsch Amerikanische Freundschaft,
Isaac Hayes,
Blake Baxter,
Robert Wyatt,
Freddie Wadling,
X-Ray Spex,
Wire,
Quantec,
Marcia Griffiths,
Chris & Cosey,
X-101,
Jeru the Damaja,
Fifty Foot Hose,
Soft Cell,
Wings,
Ronan,
Sister Nancy,
Peter and Kerry,
Sex Pistols,
the Germs,
Lindisfarne,
Little Man,
LL Cool J,
Basic Channel,
The Moody Blues,
Skaos,
Kango’s Stein Massive,
Steve Hackett,
Marvin Gaye,
The Velvet Underground,
Maurizio,
David Axelrod,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.