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 Solomon Islands and from Mexico City.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Bremen.
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 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 Roger Hodgson to the punk kids.
I played it at Cafe Wha.
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 Warsaw. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Technova 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Mr. Review,
Ludus,
Jandek,
Crime,
Wally Richardson,
Panda Bear,
Lou Christie,
Rhythm & Sound,
Scrapy,
Vladislav Delay,
Lou Reed & John Cale,
Second Layer,
Beasts of Bourbon,
Reagan Youth,
Quando Quango,
Be Bop Deluxe,
Sam Rivers,
Dave Gahan,
Slick Rick,
The J.B.'s,
Mantronix,
The Slits,
Lonnie Liston Smith,
The Index,
Make Up,
the Association,
Desert Stars,
Man Parrish,
The Knickerbockers,
Ossler,
Deepchord,
Wasted Youth,
Parry Music,
Ajijia Myrayebe,
Andrew Hill,
Wire,
Davy DMX,
Talk Talk,
Grandmaster Flash,
The Motions,
The West Coast Pop Art Experimental Band,
Bobby Womack,
The Music Machine,
The Wake,
U.S. Maple,
The United States of America,
Masters at Work,
Black Moon,
Sun Ra,
ABBA,
R.M.O.,
The Walker Brothers,
Ultravox,
Cal Tjader,
Selector Dub Narcotic,
Michelle Simonal,
The Techniques,
Absolute Body Control,
Nation of Ulysses,
Underground Resistance,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.