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 Slovakia and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Mumbai.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 The Smoke to the jazz kids.
I played it at the Troubador.
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 Arab on Radar. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
The Monochrome Set,
Electric Light Orchestra,
Black Pus,
Idris Muhammad,
Bad Manners,
The Index,
Desert Stars,
Lalo Schifrin,
Babytalk,
Derrick Morgan,
Siouxsie and the Banshees,
Fluxion,
The Kinks,
Barclay James Harvest,
The Dirtbombs,
The Detroit Cobras,
Albert Ayler,
DJ Sneak,
Cluster,
Ash Ra Tempel,
the Human League,
FM Einheit,
Nik Kershaw,
Soulsonic Force,
Vaughan Mason & Crew,
48th St. Collective,
The Blues Magoos,
Ultra Naté,
Essential Logic,
Magazine,
Grandmaster Flash,
China Crisis,
Basic Channel,
Nico,
The Divine Comedy,
Henry Cow,
Deutsch Amerikanische Freundschaft,
James Chance & The Contortions,
Fifty Foot Hose,
Pantytec,
The Chocolate Watch Band,
Ronnie Foster,
Depeche Mode,
Harpers Bizarre,
Isaac Hayes,
The Happenings,
The Wake,
The Durutti Column,
Severed Heads,
Inner City,
Pere Ubu,
DJ Style,
Crooked Eye,
Marine Girls,
Rites of Spring,
The Selecter,
Rakim,
MC5,
The Litter,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.