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 Ivory Coast and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 Robert Palmer 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 Unrelated Segments to the jazz 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 Interpol. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal grunge 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 oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef 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?
The Selecter,
Country Joe & The Fish,
Kevin Saunderson,
Bluetip,
Judy Mowatt,
48th St. Collective,
Kayak,
Drexciya,
The West Coast Pop Art Experimental Band,
Pierre Henry,
Technova,
The Gories,
The J.B.'s,
Deakin,
Althea and Donna,
The Remains,
PIL,
The Evens,
June of 44,
Junior Murvin,
Orchestral Manoeuvres in the Dark,
Electric Light Orchestra,
Wire,
The Happenings,
Jandek,
Bobby Hutcherson,
Roxy Music,
Be Bop Deluxe,
Cymande,
Laurel Aitken,
Vaughan Mason & Crew,
Bizarre Inc.,
The Toasters,
Trumans Water,
Motorama,
Tears for Fears,
Kauko Röyhkä ja Narttu,
The Fire Engines,
Inner City,
Todd Rundgren,
Young Marble Giants,
Soul Sonic Force,
The Doobie Brothers,
Lower 48,
The Alarm Clocks,
Black Bananas,
The Electric Prunes,
The Knickerbockers,
Supertramp,
Radiohead,
Outsiders,
Boredoms,
Index,
The Angels of Light,
Duran Duran,
Rhythim Is Rhythim,
Echo & the Bunnymen,
Janne Schatter,
Mo-Dettes,
FM Einheit,
Arthur Verocai,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.