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 Ghana and from Tehran.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Black Flag to the grunge kids.
I played it at the Hacienda.
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 Ken Boothe. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Monolake,
Pierre Henry,
Minnie Riperton,
Oppenheimer Analysis,
Teenage Jesus and the Jerks,
Soft Machine,
Arcadia,
Electric Light Orchestra,
Eric Dolphy,
Maurizio,
Ice-T,
The Neon Judgement,
Grandmaster Flash,
Todd Rundgren,
Deakin,
John Lydon,
The Toasters,
L. Decosne,
Ultramagnetic MC's,
Graham Central Station,
Moebius,
Captain Beefheart & His Magic Band,
Das Ding,
Charles Mingus,
Pantaleimon,
Peter & Gordon,
Quando Quango,
Suicide,
Soft Cell,
The Birthday Party,
Television Personalities,
Terrestrial Tones,
Animal Collective,
Echo & the Bunnymen,
Man Eating Sloth,
Country Joe & The Fish,
U.S. Maple,
the Human League,
the Fania All-Stars,
Barrington Levy,
Marc Romboy vs. Booka Shade,
Kerrie Biddell,
Fad Gadget,
The Doors,
The Count Five,
The Cosmic Jokers,
James Chance & The Contortions,
Jesper Dahlbäck,
Neu!,
Vaughan Mason & Crew,
The Martian,
Lee Hazlewood,
Mission of Burma,
Dr. Dre and Snoop Doggy Dog,
OOIOO,
Joensuu 1685,
The Barracudas,
Mantronix,
Orchestral Manoeuvres in the Dark,
The Alarm Clocks,
Ken Boothe,
Banda Bassotti,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.