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 Bulgaria and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Paris 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 sitar 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 The Shadows of Knight to the dance 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 Fort Wilson Riot. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Pylon,
Little Man,
Los Fastidios,
Eyeless In Gaza,
Althea and Donna,
Charles Mingus,
Stockholm Monsters,
Al Stewart,
Reuben Wilson,
Theoretical Girls,
Camouflage,
Boredoms,
Royal Trux,
Siouxsie and the Banshees,
The Cowsills,
Robert Görl,
Joyce Sims,
Delon & Dalcan,
Moebius,
Eric Dolphy,
Icehouse,
Cabaret Voltaire,
Darondo,
The Moody Blues,
Gil Scott Heron,
Japan,
Reagan Youth,
the Swans,
Nils Olav,
Radio Birdman,
Fear,
Warren Ellis,
Outsiders,
Sarah Menescal,
Soulsonic Force,
New York Dolls,
Marmalade,
The Dave Clark Five,
Maleditus Sound,
Sister Nancy,
Barclay James Harvest,
The Dirtbombs,
F. McDonald,
The Kinks,
Sugar Minott,
Inner City,
Motorama,
Radiopuhelimet,
The Real Kids,
Sonny Sharrock,
Radiohead,
DeepChord presents Echospace,
Henry Cow,
Kaleidoscope,
The Trojans,
Pulsallama,
The Five Americans,
Andrew Hill,
Lalo Schifrin,
Jerry Gold Smith,
The Star Department, The Star Department, The Star Department, The Star Department.
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.