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 South Sudan and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Toronto 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Louis and Bebe Barron to the electroclash kids.
I played it at the Crocodile.
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 New York Dolls. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Siouxsie and the Banshees,
Gil Scott Heron,
The Associates,
The Flesh Eaters,
Gian Franco Pienzio,
John Cale,
Robert Hood,
48th St. Collective,
Clear Light,
Shoche,
Bauhaus,
Swell Maps,
Qualms,
The Move,
Avey Tare's Slasher Flicks,
Kevin Saunderson,
Barrington Levy,
Subhumans,
Pete Rock & C.L. Smooth,
The Fugs,
Kaleidoscope,
Be Bop Deluxe,
Pere Ubu,
Delta 5,
The Gun Club,
Marc Almond,
Echo & the Bunnymen,
Quantec,
Ronnie Foster,
Oblivians,
Faust,
China Crisis,
Johnny Osbourne,
Laurel Aitken,
Crooked Eye,
Slick Rick,
Country Joe & The Fish,
Visage,
Intrusion,
Bad Manners,
Lizzy Mercier Descloux,
Rekid,
Jacob Miller,
Porter Ricks,
Rowland S Howard / Lydia Lunch,
Deepchord,
The Tremeloes,
Marvin Gaye,
Roy Ayers Ubiquity,
Yazoo,
Derrick Morgan,
Maleditus Sound,
Aural Exciters,
FM Einheit,
Todd Rundgren,
A Certain Ratio,
Infiniti, Infiniti, Infiniti, Infiniti.
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.