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 Sri Lanka and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1979.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Houston 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 linndrum 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 Kauko Röyhkä ja Narttu to the dance 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 The Mighty Diamonds. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Pulsallama 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Fatback Band,
Subhumans,
Minor Threat,
Unwound,
Godley & Creme,
Nation of Ulysses,
X-102,
Grandmaster Flash and the Furious Five,
Tres Demented,
Desert Stars,
The Toasters,
Deakin,
The Kinks,
The New Christs,
Brass Construction,
Little Man,
Justin Hinds & The Dominoes,
Young Marble Giants,
John Holt,
The Birthday Party,
Saccharine Trust,
Joe Smooth,
The Tremeloes,
Sad Lovers and Giants,
Beasts of Bourbon,
Kas Product,
Pere Ubu,
Gong,
The Gories,
The Standells,
The Moody Blues,
The Chocolate Watch Band,
Gil Scott-Heron and Jamie xx,
Minny Pops,
Maurizio,
Sparks,
Drive Like Jehu,
Fear,
Be Bop Deluxe,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
The Remains,
Deutsch Amerikanische Freundschaft,
Jeff Lynne,
The Smoke,
Andrew Hill,
kango's stein massive,
A Flock of Seagulls,
Black Flag,
World's Most,
Orchestral Manoeuvres in the Dark,
Sam Rivers,
Charles Mingus,
Black Bananas,
Kerrie Biddell,
Avey Tare,
Lou Reed & John Cale,
Minutemen,
Minnie Riperton,
Joy Division,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.