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 Israel and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Talk Talk to the grunge 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 Radio Birdman. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Pharoah Sanders,
Gary Puckett & The Union Gap,
Ken Boothe,
the Fania All-Stars,
Jesper Dahlbäck,
Notorious Big And Bone Thugs,
Mars,
The Vogues,
The Names,
Leonard Cohen,
Section 25,
Clear Light,
Marc Almond,
Peter & Gordon,
Groovy Waters,
Camouflage,
Sly & The Family Stone,
EPMD,
New York Dolls,
The Remains,
Gian Franco Pienzio,
David Axelrod,
Qualms,
Liaisons Dangereuses,
Erasure,
The Detroit Cobras,
JFA,
Lungfish,
Reuben Wilson,
The Jesus and Mary Chain,
Rapeman,
Blake Baxter,
the Bar-Kays,
John Holt,
Inner City,
Chris & Cosey,
Heaven 17,
Big Daddy Kane,
X-102,
Soft Machine,
Harry Pussy,
Second Layer,
The Angels of Light,
Soul II Soul,
Dennis Brown,
Rotary Connection,
Pagans,
Vladislav Delay,
Agent Orange,
The Pretty Things,
The Electric Prunes,
T.S.O.L.,
D'Angelo,
Monks,
Gil Scott Heron,
Bootsy's Rubber Band,
The Golliwogs,
Parry Music,
The Knickerbockers,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.