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 Rwanda and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1970.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Columbus 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Joe Finger 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 Henry Cow. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every The Motions 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The Count Five,
Bad Manners,
Eric Dolphy,
Malaria!,
Monks,
the Fania All-Stars,
John Lydon,
James White and The Blacks,
The Velvet Underground,
Bill Near,
Tom Boy,
The Dave Clark Five,
Ralphi Rosario,
Byron Stingily,
Ituana,
The Index,
The Gap Band,
Piero Umiliani,
The Blackbyrds,
The Men They Couldn't Hang,
Pylon,
Erasure,
Susan Cadogan,
Darondo,
Banda Bassotti,
Kevin Saunderson,
Marc Almond,
Eli Mardock,
Royal Trux,
Gang Starr,
The Mighty Diamonds,
Saccharine Trust,
Judy Mowatt,
Laurel Aitken,
The Electric Prunes,
The Names,
K-Klass,
Orchestral Manoeuvres in the Dark,
The Doors,
Sound Behaviour,
Rites of Spring,
Hardrive,
The Knickerbockers,
It's A Beautiful Day,
Super Lover Cee & Casanova Rud,
the Soft Cell,
Nik Kershaw,
Nico,
Be Bop Deluxe,
The Walker Brothers,
Lizzy Mercier Descloux,
Pantaleimon,
Lindisfarne,
The United States of America,
Nirvana,
Rakim,
Magazine,
Curtis Mayfield,
Hasil Adkins,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.