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 Sri Lanka and from Beijing.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Zero Boys 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 Scott Walker. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Man Parrish 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 '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Aaron Thompson,
Roxy Music,
Rod Modell,
Malaria!,
Unrelated Segments,
The Doobie Brothers,
Rotary Connection,
New Age Steppers,
Stereo Dub,
Parry Music,
Metal Thangz,
Arcadia,
Howard Jones,
FM Einheit,
The Jesus and Mary Chain,
Nation of Ulysses,
Gil Scott-Heron and Jamie xx,
Loose Ends,
Red Lorry Yellow Lorry,
The Birthday Party,
The Dead C,
The Victims,
Black Sheep,
KRS-One,
Pagans,
Notorious Big And Bone Thugs,
Buzzcocks,
K-Klass,
The Grass Roots,
David Axelrod,
Lou Christie,
The Red Krayola,
The Golliwogs,
Thinking Fellers Union Local 282,
The Index,
Bizarre Inc.,
Carl Craig,
the Human League,
Bobby Womack,
F. McDonald,
Kas Product,
Lungfish,
Massinfluence,
Camouflage,
Bang on a Can All-Stars,
Radiopuhelimet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Severed Heads,
Lou Reed & John Cale,
Echospace,
Hashim,
Graham Central Station,
The Black Dice,
Johnny Osbourne,
Sticky Fingaz feat. Raekwon,
The Cure,
Harpers Bizarre,
The Litter,
Warsaw,
Royal Trux,
Make Up,
Andrew Ashong & Theo Parrish,
The Trojans, The Trojans, The Trojans, The Trojans.
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.