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 Iraq and from Mumbai.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Monolake 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 New York Dolls. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Albert Ayler,
The Techniques,
Major Organ And The Adding Machine,
Eden Ahbez,
Quando Quango,
Michelle Simonal,
The Busters,
Echospace,
Angry Samoans,
Pierre Henry,
LL Cool J,
The Music Machine,
Bobby Womack,
Cabaret Voltaire,
Loose Ends,
Amon Düül,
Dave Gahan,
Slick Rick,
Gastr Del Sol,
Lou Reed,
Anthony Braxton,
Moby Grape,
Chris & Cosey,
R.M.O.,
Gary Puckett & The Union Gap,
Con Funk Shun,
Tommy Roe,
Throbbing Gristle,
Delta 5,
The J.B.'s,
Ralphi Rosario,
Kerrie Biddell,
Kas Product,
Rosa Yemen,
The Monks,
Magazine,
KRS-One,
Eric Dolphy,
Max Romeo,
Sällskapet,
Robert Görl,
Marine Girls,
Larry & the Blue Notes,
Gong,
Rowland S Howard / Lydia Lunch,
Mandrill,
Wighnomy Brothers & Robag Wruhme,
Deadbeat,
Nils Olav,
Tomorrow,
The Index,
Don Cherry,
Justin Hinds & The Dominoes,
Bobby Sherman,
Das Ding,
Terrestrial Tones,
Susan Cadogan,
K-Klass,
Kevin Saunderson,
Guru Guru,
The Standells,
Joyce Sims,
Derrick May, Derrick May, Derrick May, Derrick May.
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.