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 Spain and from Halifax.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Seoul 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 Lewis practice in a loft in Vancouver.
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 X-101 to the disco kids.
I played it at the Hacienda.
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 Moss Icon. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Radiohead 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
John Cale,
Surgeon,
Peter Gordon & Love of Life Orchestra,
Wally Richardson,
The Shadows of Knight,
Drexciya,
Wighnomy Brothers & Robag Wruhme,
Pulsallama,
Bob Dylan,
Rekid,
Bush Tetras,
Circle Jerks,
Sunsets and Hearts,
Danielle Patucci,
Warsaw,
Rites of Spring,
EPMD,
The United States of America,
48th St. Collective,
Gang Starr,
Harpers Bizarre,
Unrelated Segments,
The Fire Engines,
Angels of Light & Akron/Family,
Kerri Chandler,
Godley & Creme,
The New Christs,
Glambeats Corp.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pete Rock & C.L. Smooth,
Amon Düül,
Gang Gang Dance,
Deakin,
Newcleus,
Y Pants,
R.M.O.,
the Association,
Sad Lovers and Giants,
Model 500,
Cymande,
Das Ding,
The Birthday Party,
The Monochrome Set,
H. Thieme,
Lou Reed & John Cale,
Tomorrow,
Big Daddy Kane,
Qualms,
Isaac Hayes,
The Vogues,
Slave,
Siouxsie and the Banshees,
Warren Ellis,
The Monks,
Pet Shop Boys,
Average White Band,
DJ Style,
A Flock of Seagulls,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.