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 St Kitts & Nevis and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Columbus and Halifax.
I'm losing my edge to the art-school London 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 oboe 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 Faraquet to the grunge kids.
I played it at the Roxy.
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 OOIOO. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Bobby Byrd,
Scan 7,
Intrusion,
Freddie Wadling,
Pylon,
Basic Channel,
Simply Red,
Byron Stingily,
Peter & Gordon,
Pharoah Sanders,
Agent Orange,
Public Enemy,
The Birthday Party,
The Smiths,
Marcia Griffiths,
The Young Rascals,
Matthew Halsall,
The Knickerbockers,
Roy Ayers Ubiquity,
Rosa Yemen,
These Immortal Souls,
Groovy Waters,
Bill Wells,
The Alarm Clocks,
Dawn Penn,
The American Breed,
the Human League,
Peter and Kerry,
Soulsonic Force,
Blake Baxter,
Eric Copeland,
London Community Gospel Choir,
Funkadelic,
Tears for Fears,
the Germs,
Fluxion,
Dead Boys,
The Monochrome Set,
Aaron Thompson,
Newcleus,
Terry Callier,
Aural Exciters,
The Buckinghams,
Pharaoh Sanders and the Fire Engines,
Rahsaan Roland Kirk,
Maleditus Sound,
Sällskapet,
Darondo,
Ash Ra Tempel,
Godley & Creme,
Tom Boy,
Black Pus,
Spandau Ballet,
The Sound,
Vaughan Mason & Crew,
D'Angelo,
Avey Tare's Slasher Flicks,
Rod Modell,
Sonny Sharrock,
Throbbing Gristle,
Wolf Eyes,
Organ,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.