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 Singapore and from Hong Kong.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Calgary 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 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 Harry Pussy 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 Lou Reed & John Cale. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Bush Tetras 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 '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Depeche Mode,
Crash Course in Science,
Ajijia Myrayebe,
Sex Pistols,
Glenn Branca,
Goldenarms,
Throbbing Gristle,
Gabor Szabo,
Stockholm Monsters,
The Fire Engines,
Visage,
Unrelated Segments,
Curtis Mayfield,
Organ,
New Age Steppers,
Kevin Saunderson,
Echo & the Bunnymen,
John Lydon,
Ice-T,
Eric Dolphy,
Eyeless In Gaza,
Super Lover Cee & Casanova Rud,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Invisible,
Joe Smooth,
Suburban Knight,
Blake Baxter,
The Knickerbockers,
U.S. Maple,
UT,
Aloha Tigers,
Joensuu 1685,
Charles Mingus,
Fifty Foot Hose,
The Fuzztones,
Cecil Taylor,
Surgeon,
The Music Machine,
Jerry Gold Smith,
Lindisfarne,
The Detroit Cobras,
Don Cherry,
X-101,
X-Ray Spex,
Talk Talk,
The Human League,
Mantronix,
Negative Approach,
Al Stewart,
Crispian St. Peters,
Scan 7,
Wighnomy Brothers & Robag Wruhme,
Audionom,
The Star Department,
Ronan,
The Smiths,
Dual Sessions,
Kurtis Blow,
Unwound,
Roy Ayers,
Circle Jerks,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.