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 Ireland and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 clarinet 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 ABC to the electroclash kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt 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?
Deakin,
The Sound,
Grauzone,
Circle Jerks,
Arab on Radar,
Unrelated Segments,
R.M.O.,
Soft Machine,
The Red Krayola,
Ultimate Spinach,
The Barracudas,
Brothers Johnson,
Television,
Steve Hackett,
Sonny Sharrock,
Cluster,
Minny Pops,
Warsaw,
The Sonics,
Curtis Mayfield,
Flash Fearless,
Wire,
Jesper Dahlbäck,
Be Bop Deluxe,
Robert Görl,
Desert Stars,
Rapeman,
Maurizio,
Babytalk,
Traffic Nightmare,
Tears for Fears,
The Skatalites,
Intrusion,
Tubeway Army,
ABBA,
Hasil Adkins,
Sun City Girls,
Susan Cadogan,
Country Teasers,
Red Lorry Yellow Lorry,
The Smoke,
Boogie Down Productions,
Avey Tare's Slasher Flicks,
Super Lover Cee & Casanova Rud,
Kauko Röyhkä ja Narttu,
Eric B and Rakim,
DeepChord presents Echospace,
Blancmange,
Byron Stingily,
Louis and Bebe Barron,
Idris Muhammad,
Michelle Simonal,
Rosa Yemen,
Adolescents,
DJ Style,
The Gories,
Matthew Halsall,
Fela Kuti,
Sarah Menescal,
Nils Olav,
Brick,
T. Rex,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.