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 Georgia and from Edmonton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Sonny Sharrock to the disco kids.
I played it at the Roxy.
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 Evens. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Brick,
Yusef Lateef,
The Residents,
The Velvet Underground,
Sonic Youth,
Dark Day,
Sister Nancy,
Ralphi Rosario,
Grauzone,
UT,
the Human League,
MC5,
Bush Tetras,
Radiopuhelimet,
Bronski Beat,
Buzzcocks,
Wings,
The Smoke,
Glambeats Corp.,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Nick Cave & The Bad Seeds,
Skaos,
In Retrospect,
Slave,
Matthew Halsall,
EPMD,
Sun Ra,
Basic Channel,
The Doobie Brothers,
Soul Sonic Force,
Cecil Taylor,
Qualms,
Sam Rivers,
ABBA,
Mr. Review,
Rotary Connection,
Strawberry Alarm Clock,
John Coltrane,
Fat Boys,
Blossom Toes,
Siouxsie and the Banshees,
Sight & Sound,
Stetsasonic,
Negative Approach,
Gang Green,
Adolescents,
Man Parrish,
Sun City Girls,
Mandrill,
JFA,
Andrew Hill,
Sarah Menescal,
Pylon,
Larry & the Blue Notes,
Underground Resistance,
Kool G Rap & DJ Polo,
Television Personalities,
Altered Images,
B.T. Express,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.