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 Thailand and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Newcleus to the jazz 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 Barbara Tucker. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Mantronix,
Robert Wyatt,
Bob Dylan,
Prince Buster,
The Motions,
Arab on Radar,
Soft Cell,
Desert Stars,
Robert Hood,
Moby Grape,
The Black Dice,
Teenage Jesus and the Jerks,
Little Man,
Crime,
Livin' Joy,
The Techniques,
Hardrive,
Ronan,
Monks,
The Fugs,
Sonny Sharrock,
Sun Ra Arkestra,
Tears for Fears,
Anthony Braxton,
Massinfluence,
Unrelated Segments,
Michelle Simonal,
Sarah Menescal,
Gregory Isaacs,
Godley & Creme,
Gian Franco Pienzio,
Heaven 17,
Cameo,
Wire,
Andrew Hill,
Johnny Clarke,
A Certain Ratio,
Cheater Slicks,
Alice Coltrane,
Don Cherry,
New York Dolls,
Grandmaster Flash and the Furious Five,
Y Pants,
Piero Umiliani,
The Martian,
Eli Mardock,
Public Enemy,
Metal Thangz,
UT,
Warsaw,
Joey Negro,
The Fire Engines,
Traffic Nightmare,
The Birthday Party,
Silicon Teens,
Gil Scott-Heron & Brian Jackson,
Ultimate Spinach,
The Golliwogs,
James Chance & The Contortions,
The Standells,
Television,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.