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 Morocco and from Bremen.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Skaos to the dance 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 B.T. Express. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Swell Maps record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Lindisfarne,
Quadrant,
Icehouse,
Royal Trux,
Minutemen,
Crooked Eye,
Sight & Sound,
Rites of Spring,
The Evens,
Ohio Players,
DJ Sneak,
Cabaret Voltaire,
DJ Style,
Lou Reed & John Cale,
Shoche,
Joey Negro,
Stockholm Monsters,
Lyres,
Moss Icon,
Urselle,
Eli Mardock,
Unrelated Segments,
Rapeman,
The Cowsills,
The Mummies,
Larry & the Blue Notes,
JFA,
Delon & Dalcan,
Terry Callier,
Harry Pussy,
Cluster,
Lou Reed & Metallica,
Brass Construction,
Thompson Twins,
The Fire Engines,
The Skatalites,
ABBA,
Patti Smith,
Supertramp,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
Gary Puckett & The Union Gap,
Amazonics,
Sister Nancy,
Black Moon,
Roger Hodgson,
Audionom,
London Community Gospel Choir,
The American Breed,
Minnie Riperton,
Joensuu 1685,
Skaos,
The Flesh Eaters,
Rekid,
Lightning Bolt,
Newcleus,
The Move,
LL Cool J,
Electric Light Orchestra,
Kool Moe Dee,
The United States of America, The United States of America, The United States of America, The United States of America.
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.