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 Bangladesh and from Columbus.
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 1961 to 1975.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Lille 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 Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Chris & Cosey to the grime kids.
I played it at the Hacienda.
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 Mad Mike. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Pylon,
Ajijia Myrayebe,
The Invisible,
Idris Muhammad,
CMW,
The Associates,
Supertramp,
the Slits,
Mark Hollis,
DJ Style,
Gregory Isaacs,
Sight & Sound,
Liliput,
The Divine Comedy,
The Gories,
Big Daddy Kane,
Deutsch Amerikanische Freundschaft,
Donald Byrd,
OOIOO,
Gastr Del Sol,
David Axelrod,
EPMD,
Dark Day,
John Foxx,
Morten Harket,
The Knickerbockers,
Eurythmics,
Connie Case,
The Monks,
Notorious Big And Bone Thugs,
The New Christs,
Zapp,
Robert Wyatt,
Wally Richardson,
Ash Ra Tempel,
Faust,
Lou Reed & John Cale,
Peter and Kerry,
Dorothy Ashby,
Scrapy,
Pere Ubu,
Eve St. Jones,
Subhumans,
Animal Collective,
Jimmy McGriff,
Country Teasers,
Gil Scott-Heron and Jamie xx,
Kerrie Biddell,
World's Most,
Funkadelic,
Nation of Ulysses,
The Fortunes,
Reuben Wilson,
Quando Quango,
Hasil Adkins,
Echo & the Bunnymen,
8 Eyed Spy,
Justin Hinds & The Dominoes,
Adolescents,
Cal Tjader,
Louis and Bebe Barron,
Skarface,
Monks, Monks, Monks, Monks.
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.