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 Zimbabwe and from Madrid.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Cabaret Voltaire to the techno 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 EPMD. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Prince Buster,
Robert Görl,
Todd Terry,
Quando Quango,
Ludus,
DJ Style,
PIL,
Johnny Osbourne,
Bill Near,
Zapp,
Mr. Review,
The Gap Band,
The Fortunes,
Kurtis Blow,
Television,
Brick,
Khruangbin,
Notorious Big And Bone Thugs,
Barry Ungar,
Richard Hell and the Voidoids,
Alice Coltrane,
New Order,
The Dirtbombs,
Q65,
Lee Hazlewood,
Easy Going,
the Sonics,
The Jesus and Mary Chain,
DJ Sneak,
Bobby Byrd,
Lalann,
The Dave Clark Five,
Intrusion,
Radio Birdman,
The Vogues,
Derrick Morgan,
Aloha Tigers,
John Coltrane,
DNA,
Maleditus Sound,
Rufus Thomas,
Tom Boy,
Beasts of Bourbon,
Dark Day,
Guru Guru,
Lizzy Mercier Descloux,
Barclay James Harvest,
Eurythmics,
Neil Young & Crazy Horse,
The Associates,
Spoonie Gee,
The Move,
Jerry Gold Smith,
Animal Collective,
The Stooges,
Gang of Four,
The Saints,
The Kinks,
The New Christs,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.