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 Brunei and from Philadelphia.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Edmonton 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 theremin 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 The Men They Couldn't Hang to the rock kids.
I played it at Trash.
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 Jeff Lynne. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Massinfluence 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
A Certain Ratio,
Robert Wyatt,
Mantronix,
The Barracudas,
Deadbeat,
Ten City,
FM Einheit,
Popol Vuh,
Colin Newman,
Zapp,
Yazoo,
Sugar Minott,
Jeff Mills,
Freddie Wadling,
The Gories,
Wire,
The Moody Blues,
De La Soul & Jungle Brothers,
The Sound,
Gian Franco Pienzio,
Bobby Sherman,
Crash Course in Science,
Hardrive,
Excepter,
Henry Cow,
The Moleskins,
the Swans,
Radiopuhelimet,
Jacques Brel,
The Peanut Butter Conspiracy,
Gerry Rafferty,
Schoolly D,
The Last Poets,
Howard Jones,
Eurythmics,
Sixth Finger,
The Seeds,
Lightning Bolt,
Rhythim Is Rhythim,
Inner City,
the Sonics,
Aswad,
Ronnie Foster,
Toni Rubio,
Kayak,
Max Romeo,
Strawberry Alarm Clock,
New Age Steppers,
kango's stein massive,
Tomorrow,
The Electric Prunes,
Eden Ahbez,
Terrestrial Tones,
Bronski Beat,
Goldenarms,
Crime,
Peter & Gordon,
Ajijia Myrayebe,
Arab on Radar,
Minor Threat,
Neil Young,
The Doors, The Doors, The Doors, The Doors.
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.