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 Belgium and from Milan.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Juan Atkins to the grunge kids.
I played it at the Crocodile.
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 Gang Gang Dance. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Gong,
Brand Nubian,
Unrelated Segments,
Dual Sessions,
Quantec,
Bluetip,
Bill Near,
Stiv Bators,
John Foxx,
Yusef Lateef,
The Trojans,
Magma,
Sam Rivers,
the Slits,
Sticky Fingaz feat. Raekwon,
June of 44,
KRS-One,
The Victims,
Faraquet,
Sound Behaviour,
Gichy Dan,
Vaughan Mason & Crew,
Ludus,
Hot Snakes,
Echospace,
Chris Corsano,
Stockholm Monsters,
Oneida,
Scientists,
The Fugs,
Beasts of Bourbon,
Popol Vuh,
The Techniques,
Art Ensemble Of Chicago,
LL Cool J,
Swell Maps,
Skriet,
Liaisons Dangereuses,
Marc Almond,
Urselle,
Toni Rubio,
L. Decosne,
The Dead C,
Kerrie Biddell,
Tropical Tobacco,
Marmalade,
Nils Olav,
Teenage Jesus and the Jerks,
Graham Central Station,
Eyeless In Gaza,
Major Organ And The Adding Machine,
David McCallum,
Main Source,
Heaven 17,
Nation of Ulysses,
Bang on a Can All-Stars,
Ajijia Myrayebe,
Marshall Jefferson,
Andrew Hill,
Average White Band,
10cc,
The Grass Roots,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.