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 Kuwait and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when David Bowie 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 The Mojo Men to the punk 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 Selecter. All the underground hits.
All Wire tracks. I heard you have a vinyl of every the Fania All-Stars 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Bizarre Inc.,
La Düsseldorf,
Eddi Front,
Rotary Connection,
Soft Machine,
Thee Headcoats,
The Birthday Party,
Faust,
cv313,
Liliput,
Jeff Mills,
Shoche,
Country Joe & The Fish,
Das Ding,
Oneida,
Bobby Byrd,
Scientists,
Lindisfarne,
Erasure,
Kerri Chandler,
Sun Ra Arkestra,
Sugar Minott,
Scrapy,
Magma,
The Raincoats,
the Swans,
The Doobie Brothers,
Accadde A,
New Order,
the Normal,
The Dave Clark Five,
Sam Rivers,
Kerrie Biddell,
Camberwell Now,
The Mojo Men,
Lou Reed & John Cale,
Mary Jane Girls,
The Move,
the Bar-Kays,
The Stooges,
Moby Grape,
Mark Hollis,
Los Fastidios,
Jimmy McGriff,
Underground Resistance,
PIL,
Kings Of Tomorrow,
Fort Wilson Riot,
Marcia Griffiths,
Todd Terry,
The Remains,
Crispy Ambulance,
Jacques Brel,
Barbara Tucker,
The Peanut Butter Conspiracy,
Fugazi,
Gichy Dan,
Avey Tare's Slasher Flicks,
Aural Exciters,
Drive Like Jehu,
Kool G Rap & DJ Polo,
Echospace, Echospace, Echospace, Echospace.
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.