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 Malaysia and from Seoul.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Stiv Bators to the techno 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 A Flock of Seagulls. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every The Fuzztones 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Scion,
Von Mondo,
The Offenders,
Lou Reed,
Brick,
Erykah Badu,
Inner City,
Ralphi Rosario,
Bronski Beat,
Model 500,
Piero Umiliani,
Be Bop Deluxe,
Peter & Gordon,
The Gun Club,
Kango’s Stein Massive,
Camberwell Now,
John Foxx,
Judy Mowatt,
Eddi Front,
Faraquet,
Mary Jane Girls,
Rod Modell,
Fela Kuti,
Ultra Naté,
The Wake,
Gichy Dan,
Accadde A,
Flash Fearless,
Animal Collective,
The Saints,
Ken Boothe,
Ossler,
Groovy Waters,
Notorious BIG live in Amsterdam,
Negative Approach,
Pagans,
Ludus,
June Days,
Harry Pussy,
Big Daddy Kane,
the Germs,
Mark Hollis,
Patti Smith,
UT,
Lee Hazlewood,
Deutsch Amerikanische Freundschaft,
Nas,
Warren Ellis,
The Martian,
Erasure,
Con Funk Shun,
A Certain Ratio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Essential Logic,
Eden Ahbez,
DJ Sneak,
Interpol,
The Red Krayola,
Fugazi,
Urselle,
Derrick May,
Stiv Bators,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.