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 Brazil and from Edmonton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Schoolly D to the techno kids.
I played it at the Astoria.
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 Stiv Bators. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your 808 and bought a snare.
I hear that you and your band have sold your snare and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Quando Quango,
the Soft Cell,
Jesper Dahlback,
EPMD,
Charles Mingus,
Funkadelic,
Gang of Four,
Albert Ayler,
Das Ding,
Junior Murvin,
Pulsallama,
John Holt,
Ash Ra Tempel,
Suicide,
Procol Harum,
Kaleidoscope,
Q65,
The Fire Engines,
Hot Snakes,
Swans,
Pere Ubu,
The Durutti Column,
Big Daddy Kane,
The Knickerbockers,
Ten City,
Todd Terry,
Echo & the Bunnymen,
Guru Guru,
Porter Ricks,
Johnny Clarke,
Roy Ayers,
Bill Wells,
X-102,
Roy Ayers Ubiquity,
Laurel Aitken,
The Index,
Neil Young & Crazy Horse,
Kerri Chandler,
The Mighty Diamonds,
X-Ray Spex,
Bang On A Can,
Khruangbin,
Crash Course in Science,
8 Eyed Spy,
The Invisible,
Dark Day,
The Wake,
Ituana,
Liaisons Dangereuses,
Janne Schatter,
L. Decosne,
Graham Central Station,
Flipper,
Bauhaus,
Kango’s Stein Massive,
the Germs,
Sound Behaviour,
Newcleus,
Outsiders,
The Trojans,
Essential Logic,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.