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 Bahamas and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Delhi 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 Slave to the dance 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 Ajijia Myrayebe. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal punk 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
The Wake,
The Divine Comedy,
T. Rex,
Cabaret Voltaire,
Young Marble Giants,
Liliput,
Soulsonic Force,
The Shadows of Knight,
Todd Terry,
Hot Snakes,
Ultra Naté,
Maurizio,
The Cowsills,
John Foxx,
L. Decosne,
Vladislav Delay,
Aural Exciters,
Wolf Eyes,
Qualms,
the Swans,
Archie Shepp,
Fad Gadget,
Eden Ahbez,
Model 500,
X-Ray Spex,
Wighnomy Brothers & Robag Wruhme,
Ronan,
Mark Hollis,
Bobbi Humphrey,
The Seeds,
Sex Pistols,
James White and The Blacks,
Heavy D & The Boyz,
Depeche Mode,
Terror Squad Feat. Camron,
Cecil Taylor,
Soul Sonic Force,
The Mummies,
the Bar-Kays,
Grandmaster Flash and the Furious Five,
Lee Hazlewood,
Sam Rivers,
the Soft Cell,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Litter,
Spandau Ballet,
Toni Rubio,
Nation of Ulysses,
Albert Ayler,
Kerrie Biddell,
Smog,
Arcadia,
Das Ding,
Cluster,
Todd Rundgren,
Maleditus Sound,
Eve St. Jones,
Charles Mingus,
Laurel Aitken,
Sun City Girls,
Tom Boy,
Audionom,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.