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 Mauritania and from Lagos.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
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 marimba sounds with much patience.
I was there when Lou Reed 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 Drexciya to the electroclash kids.
I played it at CBGB's.
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 Todd Terry. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Standells 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Donald Byrd,
Skarface,
Marmalade,
Ken Boothe,
John Coltrane,
H. Thieme,
The Red Krayola,
Kango’s Stein Massive,
Wighnomy Brothers & Robag Wruhme,
Soul II Soul,
Rotary Connection,
Man Parrish,
Dorothy Ashby,
Average White Band,
Man Eating Sloth,
The Gladiators,
The Modern Lovers,
The Cowsills,
Glambeats Corp.,
Bang On A Can,
Los Fastidios,
Angels of Light & Akron/Family,
John Cale,
Ornette Coleman,
Television Personalities,
The Angels of Light,
Oneida,
The Grass Roots,
Japan,
Pulsallama,
Dennis Brown,
the Slits,
Gang of Four,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Technova,
Dave Gahan,
Cal Tjader,
Sound Behaviour,
The Human League,
Dawn Penn,
Urselle,
The Vogues,
Sonny Sharrock,
Kings Of Tomorrow,
Television,
Albert Ayler,
Girls At Our Best!,
Curtis Mayfield,
the Bar-Kays,
Marvin Gaye,
Nico,
Ituana,
The Flesh Eaters,
The Selecter,
Sarah Menescal,
Rakim,
Jacques Brel,
Neu!,
Organ,
Idris Muhammad,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.