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 Namibia and from Shanghai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Beijing 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 theremin sounds with much patience.
I was there when David Bowie 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 The Black Dice to the techno 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 Peter & Gordon. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Roy Ayers,
Carl Craig,
Stetsasonic,
The Men They Couldn't Hang,
Yazoo,
Blake Baxter,
Johnny Osbourne,
KRS-One,
Soul II Soul,
Lou Reed,
Index,
Arab on Radar,
T.S.O.L.,
Electric Light Orchestra,
Neil Young & Crazy Horse,
Idris Muhammad,
Eurythmics,
Gabor Szabo,
Kauko Röyhkä ja Narttu,
The Moleskins,
Porter Ricks,
Maurizio,
The Modern Lovers,
Grauzone,
The Smiths,
Ludus,
kango's stein massive,
Marvin Gaye,
The Stooges,
Shuggie Otis,
Camouflage,
Super Lover Cee & Casanova Rud,
James White and The Blacks,
X-101,
Orchestral Manoeuvres in the Dark,
Oppenheimer Analysis,
Warsaw,
The Saints,
Cameo,
Arthur Verocai,
Tres Demented,
Brick,
June Days,
Strawberry Alarm Clock,
Eric Copeland,
Soft Machine,
Nick Cave & The Bad Seeds,
Joensuu 1685,
Barrington Levy,
Manfred Mann's Earth Band,
Eyeless In Gaza,
Pulsallama,
John Foxx,
James Chance & The Contortions,
The Dave Clark Five,
Dark Day,
The West Coast Pop Art Experimental Band,
Basic Channel,
Grandmaster Flash and the Furious Five,
Harmonia,
H. Thieme,
Sam Rivers,
X-102, X-102, X-102, X-102.
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.