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 Moldova and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Cairo 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 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 Oneida to the electroclash 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 Country Teasers. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Sister Nancy 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Scion,
Fat Boys,
Delon & Dalcan,
The Kinks,
Y Pants,
Bobbi Humphrey,
U.S. Maple,
Oppenheimer Analysis,
Fela Kuti,
The Smoke,
Supertramp,
Nils Olav,
The Chocolate Watch Band,
Kas Product,
Boredoms,
World's Most,
Circle Jerks,
Chris & Cosey,
De La Soul & Jungle Brothers,
Second Layer,
Sällskapet,
Bush Tetras,
Eddi Front,
Model 500,
Rapeman,
Matthew Halsall,
The Dirtbombs,
Jesper Dahlbäck,
The Dead C,
Ultimate Spinach,
Icehouse,
The Detroit Cobras,
Sad Lovers and Giants,
Swans,
Sex Pistols,
Erykah Badu,
Brick,
Niagra,
Brass Construction,
Main Source,
Anthony Braxton,
Surgeon,
Sun Ra,
The Count Five,
The Shadows of Knight,
Gang Green,
Selector Dub Narcotic,
The Fugs,
Lyres,
Quadrant,
The Toasters,
Thinking Fellers Union Local 282,
The Barracudas,
Grandmaster Flash and the Furious Five,
Sonic Youth,
Gang Gang Dance,
Arcadia,
Letta Mbulu,
Ossler,
The Selecter, The Selecter, The Selecter, The Selecter.
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.