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 Albania and from Lagos.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Nick Cave & The Bad Seeds to the dance 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 Selector Dub Narcotic. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Blossom Toes 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Bad Manners,
Rapeman,
Flipper,
Ultravox,
Joe Finger,
Dawn Penn,
Talk Talk,
Dr. Dre and Snoop Doggy Dog,
Bootsy Collins,
Gil Scott-Heron and Jamie xx,
Idris Muhammad,
Franke,
Camberwell Now,
Eli Mardock,
T.S.O.L.,
Fat Boys,
U.S. Maple,
Icehouse,
Sight & Sound,
The Associates,
Siglo XX,
Sonic Youth,
The Martian,
Zapp,
Eric B and Rakim,
E-Dancer,
Rosa Yemen,
Piero Umiliani,
June of 44,
Aaron Thompson,
The Misunderstood,
Erasure,
Sonny Sharrock,
Man Eating Sloth,
The Mojo Men,
The Leaves,
Gregory Isaacs,
Blossom Toes,
K-Klass,
Jesper Dahlback,
Adolescents,
Gil Scott Heron,
The Sound,
Brass Construction,
Fifty Foot Hose,
Siouxsie and the Banshees,
The Fugs,
B.T. Express,
Stockholm Monsters,
Maleditus Sound,
Faust,
Pussy Galore,
Cecil Taylor,
Avey Tare & Kría Brekkan,
Sixth Finger,
Frankie Knuckles,
Soft Cell,
The Last Poets,
Lalann,
Todd Terry,
Public Enemy,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.