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 Mozambique and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Dorothy Ashby to the punk kids.
I played it at the Troubador.
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 Patti Smith. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Sällskapet,
Sound Behaviour,
Sad Lovers and Giants,
ABBA,
Traffic Nightmare,
The Durutti Column,
Ten City,
Crispian St. Peters,
Stereo Dub,
Dark Day,
Electric Prunes,
Stockholm Monsters,
John Holt,
Spandau Ballet,
The Chocolate Watch Band,
Eve St. Jones,
June Days,
Schoolly D,
Ice-T,
John Foxx,
Lee Hazlewood,
The Cramps,
LL Cool J,
The Mighty Diamonds,
The Gun Club,
Mark Hollis,
Slick Rick,
The United States of America,
The Music Machine,
The Zeros,
Ultimate Spinach,
Rakim,
Idris Muhammad,
Bang On A Can,
Wasted Youth,
Man Eating Sloth,
These Immortal Souls,
Arcadia,
Excepter,
Lucky Dragons,
It's A Beautiful Day,
Max Romeo,
Funky Four + One,
Fatback Band,
The Smiths,
48th St. Collective,
The Sisters of Mercy,
Black Bananas,
The Young Rascals,
Guru Guru,
Rowland S Howard / Lydia Lunch,
Teenage Jesus and the Jerks,
Amon Düül II,
Brothers Johnson,
the Slits,
The Royal Family And The Poor,
UT,
Arab on Radar,
Albert Ayler,
Cameo,
The Real Kids,
Kas Product,
Darondo, Darondo, Darondo, Darondo.
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.