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 Ivory Coast and from Taipei.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Salvador.
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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Dual Sessions to the grunge kids.
I played it at the Hacienda.
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 Marc Almond. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Howard Jones,
James White and The Blacks,
Yellowson,
Piero Umiliani,
Peter & Gordon,
The Index,
Pharaoh Sanders and the Fire Engines,
Ronan,
The American Breed,
Unrelated Segments,
Skriet,
The Fall,
Faraquet,
Half Japanese,
The Trojans,
Warsaw,
Quantec,
The Shadows of Knight,
The Music Machine,
48th St. Collective,
kango's stein massive,
Intrusion,
Bizarre Inc.,
Joe Smooth,
Dorothy Ashby,
Gichy Dan,
Mars,
Black Flag,
The Fugs,
X-Ray Spex,
Tubeway Army,
Derrick Morgan,
Gang of Four,
E-Dancer,
Kurtis Blow,
Blake Baxter,
Liaisons Dangereuses,
Saccharine Trust,
The Monks,
Minutemen,
Tom Boy,
Das Ding,
Dead Boys,
Au Pairs,
Country Joe & The Fish,
Grandmaster Flash and the Furious Five,
Neu!,
Ituana,
Mary Jane Girls,
Josef K,
KRS-One,
Ralphi Rosario,
Main Source,
One Last Wish,
Rites of Spring,
Con Funk Shun,
Charles Mingus,
Boogie Down Productions,
Fort Wilson Riot,
DeepChord presents Echospace,
Delta 5, Delta 5, Delta 5, Delta 5.
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.