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 St Kitts & Nevis and from Johannesburg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Evens to the crunk kids.
I played it at CBGB's.
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 Rapeman. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every One Last Wish 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
The Detroit Cobras,
Bobby Hutcherson,
Ponytail,
Electric Light Orchestra,
Sound Behaviour,
Cabaret Voltaire,
The Gories,
Public Image Ltd.,
John Cale,
Ohio Players,
Letta Mbulu,
Aloha Tigers,
The Red Krayola,
Masters at Work,
Can,
The Moleskins,
Lyres,
Boredoms,
Teenage Jesus and the Jerks,
Eve St. Jones,
Mars,
Crispy Ambulance,
Schoolly D,
Lalo Schifrin,
Newcleus,
Rahsaan Roland Kirk,
Jandek,
The Kinks,
Avey Tare,
Lou Reed,
Amazonics,
Public Enemy,
The Smiths,
The Mojo Men,
The Jesus and Mary Chain,
Brass Construction,
Max Romeo,
A Flock of Seagulls,
Black Bananas,
Black Moon,
Susan Cadogan,
Sexual Harrassment,
Sixth Finger,
The Wake,
Bronski Beat,
Liaisons Dangereuses,
Urselle,
Magma,
Super Lover Cee & Casanova Rud,
De La Soul & Jungle Brothers,
Idris Muhammad,
Radiopuhelimet,
Charles Mingus,
Aswad,
Aaron Thompson,
Hoover,
Red Lorry Yellow Lorry,
Drive Like Jehu,
Pagans,
Scientists,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.