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 Dominican Republic and from Jakarta.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Lagos 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 mellotron 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 Rapeman to the dance kids.
I played it at the Spitz.
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 Faraquet. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
H. Thieme,
Black Pus,
Thee Headcoats,
Groovy Waters,
Unrelated Segments,
Jerry's Kids,
The Blackbyrds,
In Retrospect,
Marc Almond,
The Sisters of Mercy,
The Victims,
K-Klass,
Lee Hazlewood,
The Invisible,
Ronan,
Dead Boys,
Blancmange,
Avey Tare,
F. McDonald,
Soft Cell,
Max Romeo,
the Sonics,
Interpol,
Banda Bassotti,
Sad Lovers and Giants,
Lebanon Hanover,
Oppenheimer Analysis,
Morten Harket,
Young Marble Giants,
L. Decosne,
Soulsonic Force,
Minutemen,
The Selecter,
The Detroit Cobras,
The Divine Comedy,
Ornette Coleman,
Ten City,
Intrusion,
Prince Buster,
Boredoms,
Carl Craig,
Anthony Braxton,
Kenny Larkin,
Eddi Front,
the Swans,
Wolf Eyes,
Lalann,
Bauhaus,
Moebius,
Silicon Teens,
La Düsseldorf,
Arthur Verocai,
The Associates,
Bootsy's Rubber Band,
Little Man,
Rites of Spring,
Radio Birdman,
Alphaville,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.