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 Iceland and from Madrid.
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 1970.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 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 Matthew Halsall to the grunge kids.
I played it at the Crocodile.
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 Barclay James Harvest. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Pete Rock & C.L. Smooth,
Man Parrish,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Kango’s Stein Massive,
The Last Poets,
Max Romeo,
The Index,
Bizarre Inc.,
the Association,
The Royal Family And The Poor,
the Human League,
The Doors,
Ralphi Rosario,
Boz Scaggs,
Excepter,
The Gories,
Man Eating Sloth,
The Residents,
Altered Images,
48th St. Collective,
Fatback Band,
Von Mondo,
Deepchord,
Pantaleimon,
Chris & Cosey,
Popol Vuh,
Arab on Radar,
Mary Jane Girls,
Cybotron,
The Slits,
The Invisible,
Steve Hackett,
The Skatalites,
The Blackbyrds,
Soul Sonic Force,
Ituana,
The Selecter,
Vladislav Delay,
Pole,
Symarip,
Stockholm Monsters,
La Düsseldorf,
Reagan Youth,
Roxette,
June Days,
The Dirtbombs,
The Stooges,
Crooked Eye,
Stetsasonic,
Althea and Donna,
Gabor Szabo,
Dorothy Ashby,
Derrick May,
Pulsallama,
Main Source,
Maurizio,
Larry & the Blue Notes,
Fifty Foot Hose,
the Soft Cell,
Brick,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.