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 Vietnam and from Beijing.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Cairo 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 1976 at the first Wire practice in a loft in Watford.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 John Coltrane to the punk kids.
I played it at the Roxy.
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 Eden Ahbez. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Lower 48,
Avey Tare & Kría Brekkan,
The Cosmic Jokers,
Jerry's Kids,
Chrome,
Juan Atkins,
Colin Newman,
Reuben Wilson,
Aaron Thompson,
Black Sheep,
Notorious Big And Bone Thugs,
Stiv Bators,
Kings Of Tomorrow,
Moebius,
Fifty Foot Hose,
Vaughan Mason & Crew,
Maurizio,
Stockholm Monsters,
Susan Cadogan,
Swell Maps,
Bobbi Humphrey,
the Normal,
Pulsallama,
Leonard Cohen,
Goldenarms,
Von Mondo,
Sällskapet,
Depeche Mode,
Ash Ra Tempel,
Strawberry Alarm Clock,
Mark Hollis,
Lee Hazlewood,
Scion,
Lizzy Mercier Descloux,
The Chocolate Watch Band,
Art Ensemble Of Chicago,
June of 44,
Ornette Coleman,
New Order,
Rhythm & Sound,
Minor Threat,
Qualms,
Eddi Front,
Kerrie Biddell,
The Neon Judgement,
Hot Snakes,
Ice-T,
The Leaves,
The Shadows of Knight,
Essential Logic,
Tubeway Army,
Nik Kershaw,
Metal Thangz,
Thompson Twins,
Wings,
Roy Ayers Ubiquity,
The Real Kids,
Maleditus Sound,
The Red Krayola,
Joensuu 1685,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.