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 Vanuatu and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Calgary.
I'm losing my edge to the art-school Beijing 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Brass Construction 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 Letta Mbulu. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Fatback Band 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Gil Scott-Heron & Brian Jackson,
John Lydon,
Avey Tare,
The Shadows of Knight,
Beasts of Bourbon,
Pantytec,
The Selecter,
Young Marble Giants,
Faust,
Patti Smith,
Lindisfarne,
London Community Gospel Choir,
Marvin Gaye,
The Young Rascals,
Sparks,
Lou Reed & John Cale,
Icehouse,
Yazoo,
Zapp,
Terry Callier,
Leonard Cohen,
Freddie Wadling,
Curtis Mayfield,
The Grass Roots,
Isaac Hayes,
The Barracudas,
Scientists,
The Dave Clark Five,
Yaz,
Radiopuhelimet,
Ajijia Myrayebe,
Bizarre Inc.,
Harmonia,
Stockholm Monsters,
The Mojo Men,
The Doors,
Unrelated Segments,
Sad Lovers and Giants,
Warren Ellis,
Barclay James Harvest,
The Fall,
Bobby Hutcherson,
Strawberry Alarm Clock,
Fluxion,
The Dirtbombs,
Mr. Review,
Pete Rock & C.L. Smooth,
Roger Hodgson,
The J.B.'s,
Echo & the Bunnymen,
Justin Hinds & The Dominoes,
The Motions,
Bobby Womack,
Nation of Ulysses,
Agitation Free,
Negative Approach,
Todd Terry,
The New Christs,
Depeche Mode,
The Fuzztones,
Chris Corsano,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.