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 Ethiopia and from Philadelphia.
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 1966 to 1975.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Delhi 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 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 Fear to the punk kids.
I played it at the Astoria.
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 Sister Nancy. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Radio Birdman 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Franke,
Bootsy Collins,
ABBA,
Bluetip,
T. Rex,
Kas Product,
The Tremeloes,
Kerrie Biddell,
The Smoke,
Bauhaus,
Liliput,
Throbbing Gristle,
The Residents,
Manfred Mann's Earth Band,
Heavy D & The Boyz,
Connie Case,
James White and The Blacks,
Neil Young,
Interpol,
Roy Ayers,
The Raincoats,
The Motions,
Marmalade,
Skaos,
The New Christs,
Crispy Ambulance,
Fluxion,
Black Bananas,
John Foxx,
Dead Boys,
Popol Vuh,
Zapp,
The Techniques,
Mandrill,
Gerry Rafferty,
Lou Reed & Metallica,
Desert Stars,
Dave Gahan,
Boredoms,
Cecil Taylor,
The Dave Clark Five,
Gil Scott Heron,
The Blues Magoos,
Echo & the Bunnymen,
Ludus,
Cabaret Voltaire,
Mantronix,
Delta 5,
Pharoah Sanders,
Yellowson,
Freddie Wadling,
Qualms,
Chrome,
The Monochrome Set,
Sparks,
Jacob Miller,
It's A Beautiful Day,
Lizzy Mercier Descloux,
Bang On A Can,
Wings,
The Moody Blues,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.