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 Ethiopia and from Portland.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 The Peanut Butter Conspiracy to the crunk kids.
I played it at Cafe Wha.
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 The American Breed. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Kas Product,
the Soft Cell,
Jerry's Kids,
Blake Baxter,
Guru Guru,
Derrick May,
Simply Red,
Marcia Griffiths,
Notorious Big And Bone Thugs,
Sight & Sound,
Echo & the Bunnymen,
Angels of Light & Akron/Family,
Loose Ends,
Oppenheimer Analysis,
Lower 48,
La Düsseldorf,
Section 25,
Clear Light,
The Fugs,
Absolute Body Control,
The Happenings,
Jawbox,
Kings Of Tomorrow,
A Certain Ratio,
Ossler,
Heaven 17,
Magazine,
Dorothy Ashby,
Michelle Simonal,
Todd Terry,
Au Pairs,
Interpol,
Massinfluence,
The New Christs,
Brass Construction,
Public Image Ltd.,
Peter Gordon & Love of Life Orchestra,
Aural Exciters,
London Community Gospel Choir,
PIL,
Public Enemy,
New Age Steppers,
Dead Boys,
Junior Murvin,
Suburban Knight,
One Last Wish,
Pole,
Funky Four + One,
The Monochrome Set,
Kerrie Biddell,
Ajijia Myrayebe,
MDC,
Letta Mbulu,
Lou Reed & John Cale,
Pet Shop Boys,
Grandmaster Flash and the Furious Five,
Louis and Bebe Barron,
Make Up,
Joensuu 1685,
Liaisons Dangereuses,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.