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 Haiti and from Sao Paulo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 The Fuzztones to the dance kids.
I played it at the Roxy.
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 Stooges. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Clear Light,
The Techniques,
Louis and Bebe Barron,
Wolf Eyes,
AZ,
Roy Ayers Ubiquity,
Sonny Sharrock,
Eric Copeland,
Eddi Front,
Circle Jerks,
Sparks,
Schoolly D,
Todd Rundgren,
Easy Going,
The Walker Brothers,
Liliput,
Rahsaan Roland Kirk,
Graham Central Station,
Saccharine Trust,
Idris Muhammad,
The Cramps,
The Beau Brummels,
Danielle Patucci,
Boz Scaggs,
DNA,
Terrestrial Tones,
Au Pairs,
The Moody Blues,
8 Eyed Spy,
Thompson Twins,
Chris Corsano,
Eurythmics,
June Days,
Kauko Röyhkä ja Narttu,
Banda Bassotti,
Lower 48,
Notorious Big And Bone Thugs,
Sarah Menescal,
Sun Ra Arkestra,
Fifty Foot Hose,
La Düsseldorf,
The Slits,
Crooked Eye,
Gil Scott Heron,
Angry Samoans,
JFA,
Niagra,
Neu!,
Frankie Knuckles,
KRS-One,
Judy Mowatt,
Quando Quango,
Minnie Riperton,
Kango’s Stein Massive,
Black Flag,
Al Stewart,
Ultravox,
Brick,
Ponytail, Ponytail, Ponytail, Ponytail.
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.