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 Portugal 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 1972.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Bauhaus to the electroclash 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 Rapeman. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal techno 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Flash Fearless,
Bill Near,
The Neon Judgement,
A Flock of Seagulls,
The Dave Clark Five,
Rekid,
Pharoah Sanders,
Henry Cow,
Lyres,
Reuben Wilson,
Marvin Gaye,
Aloha Tigers,
Man Parrish,
Pylon,
The Cosmic Jokers,
Kevin Saunderson,
Unrelated Segments,
Babytalk,
Echo & the Bunnymen,
Don Cherry,
R.M.O.,
Joensuu 1685,
Avey Tare & Kría Brekkan,
Davy DMX,
The Seeds,
Sixth Finger,
Johnny Clarke,
cv313,
Kas Product,
Throbbing Gristle,
UT,
Icehouse,
Lalo Schifrin,
Rowland S Howard / Lydia Lunch,
Gang Gang Dance,
Jeru the Damaja,
Deadbeat,
EPMD,
Kings Of Tomorrow,
Kayak,
Accadde A,
Isaac Hayes,
The Mojo Men,
DJ Sneak,
Sun Ra,
Camouflage,
Soul II Soul,
Kango’s Stein Massive,
Model 500,
A Certain Ratio,
The Blues Magoos,
Kool Moe Dee,
Ultra Naté,
Urselle,
The Wake,
Gong,
The Jesus and Mary Chain,
Althea and Donna,
Man Eating Sloth,
Oppenheimer Analysis,
Ultravox,
Gian Franco Pienzio,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.