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 Estonia and from Copenhagen.
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 New York and Johannesburg.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Holger Czukay 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 U.S. Maple to the jazz 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 The Kinks. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Ultravox,
Scott Walker,
Minor Threat,
Bush Tetras,
Stiv Bators,
Bizarre Inc.,
The Mighty Diamonds,
Khruangbin,
David McCallum,
The Music Machine,
Dead Boys,
June Days,
Red Lorry Yellow Lorry,
Louis and Bebe Barron,
Joensuu 1685,
China Crisis,
The Evens,
The Gap Band,
Bronski Beat,
Joe Finger,
Mandrill,
Country Teasers,
Andrew Ashong & Theo Parrish,
Jawbox,
Eddi Front,
Marvin Gaye,
The Fall,
Gastr Del Sol,
Scan 7,
Gang Green,
Lonnie Liston Smith,
Zapp,
Newcleus,
T.S.O.L.,
Gregory Isaacs,
Wally Richardson,
Jesper Dahlback,
The Cramps,
David Axelrod,
Symarip,
Supertramp,
Lakeside,
Sparks,
Ralphi Rosario,
Swell Maps,
Boz Scaggs,
Rakim,
The Count Five,
Deutsch Amerikanische Freundschaft,
Ultimate Spinach,
Todd Terry,
the Human League,
New York Dolls,
ABBA,
Erasure,
The Blackbyrds,
Warsaw,
Thee Headcoats,
The Shadows of Knight,
The Blues Magoos,
The Motions,
Godley & Creme,
DNA,
The Index, The Index, The Index, The Index.
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.