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 Vietnam and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Tehran 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Star Department to the dance kids.
I played it at Trash.
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 The Index. All the underground hits.
All Monks tracks. I heard you have a vinyl of every The Music Machine 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Ornette Coleman,
The Peanut Butter Conspiracy,
Vaughan Mason & Crew,
Dr. Dre and Snoop Doggy Dog,
Surgeon,
Cameo,
New Order,
Symarip,
The Names,
Brothers Johnson,
Dual Sessions,
Tim Buckley,
Monks,
Reagan Youth,
Lakeside,
Major Organ And The Adding Machine,
Neil Young,
Connie Case,
Joe Smooth,
Sun Ra Arkestra,
Underground Resistance,
The Neon Judgement,
The Happenings,
Grauzone,
Louis and Bebe Barron,
Colin Newman,
Alton Ellis,
Moss Icon,
Hardrive,
Camberwell Now,
Yellowson,
Marmalade,
Rotary Connection,
London Community Gospel Choir,
Kango’s Stein Massive,
H. Thieme,
Lightning Bolt,
The Star Department,
Ituana,
Second Layer,
Eric Copeland,
Audionom,
The Searchers,
Jerry's Kids,
The Five Americans,
The Smiths,
Slave,
The Moleskins,
Stereo Dub,
The West Coast Pop Art Experimental Band,
Ten City,
Piero Umiliani,
Fifty Foot Hose,
Delon & Dalcan,
Quando Quango,
The Mojo Men,
Derrick Morgan,
Sugar Minott,
Amon Düül II,
Avey Tare's Slasher Flicks,
Arab on Radar,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.