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 Kenya and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school New York 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 oboe sounds with much patience.
I was there when David Bowie 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 Y Pants to the grunge kids.
I played it at the Spitz.
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 Chris & Cosey. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Ice-T,
Banda Bassotti,
Ornette Coleman,
Sexual Harrassment,
Fear,
Charles Mingus,
Laurel Aitken,
Colin Newman,
Lalo Schifrin,
The Monochrome Set,
Pylon,
Oppenheimer Analysis,
Bauhaus,
Robert Görl,
Arab on Radar,
Lucky Dragons,
Zapp,
Pere Ubu,
Gang Starr,
Radiopuhelimet,
Brick,
Gil Scott Heron,
Shuggie Otis,
Bill Wells,
Jimmy McGriff,
New York Dolls,
Lindisfarne,
Babytalk,
Tim Buckley,
Aaron Thompson,
The Sound,
Black Pus,
De La Soul & Jungle Brothers,
Bobby Womack,
Essential Logic,
Pete Rock & C.L. Smooth,
The Knickerbockers,
Hoover,
Oblivians,
OOIOO,
Desert Stars,
The Move,
Jeff Lynne,
the Association,
Theoretical Girls,
The Residents,
Siglo XX,
Mark Hollis,
Girls At Our Best!,
Jeff Mills,
Nick Cave & The Bad Seeds,
Blossom Toes,
Sugar Minott,
Gary Puckett & The Union Gap,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Divine Comedy,
Hasil Adkins,
The West Coast Pop Art Experimental Band,
Fatback Band,
Henry Cow,
Lyres,
The Fuzztones,
Godley & Creme,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.