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 Lucia and from Taipei.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Beijing 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 New Christs to the techno kids.
I played it at Cafe Wha.
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 John Holt. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Shoche 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Stereo Dub,
Derrick May,
Joe Smooth,
New Age Steppers,
The Alarm Clocks,
Soft Machine,
Ice-T,
Mr. Review,
Eden Ahbez,
Ultramagnetic MC's,
Jeff Mills,
Deutsch Amerikanische Freundschaft,
June of 44,
Barrington Levy,
Supertramp,
Louis and Bebe Barron,
Pere Ubu,
Aaron Thompson,
Gian Franco Pienzio,
The Searchers,
Carl Craig,
Young Marble Giants,
The Dirtbombs,
La Düsseldorf,
Beasts of Bourbon,
Ponytail,
Pagans,
Gastr Del Sol,
Scientists,
Amazonics,
Donald Byrd,
Icehouse,
Harmonia,
Brothers Johnson,
Warren Ellis,
the Germs,
Babytalk,
Subhumans,
Bush Tetras,
Radiopuhelimet,
World's Most,
Monolake,
Cybotron,
Archie Shepp,
June Days,
Nick Cave & The Bad Seeds,
Black Flag,
Stiv Bators,
Freddie Wadling,
Arcadia,
The Fuzztones,
Severed Heads,
The Raincoats,
Hardrive,
Index,
Röyhkä ja Rättö ja Lehtisalo,
UT,
The Selecter,
the Human League,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.