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 Kiribati and from Salvador.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator 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 David McCallum to the jazz kids.
I played it at Cafe Wha.
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 L. Decosne. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal rap 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 arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Eyeless In Gaza,
Skarface,
Interpol,
Reuben Wilson,
Nick Fraelich,
Ituana,
Darondo,
The Blues Magoos,
Dark Day,
Drive Like Jehu,
Cameo,
Neil Young & Crazy Horse,
Gastr Del Sol,
Electric Light Orchestra,
Gary Puckett & The Union Gap,
Iggy Pop,
Lindisfarne,
DJ Sneak,
John Foxx,
Rahsaan Roland Kirk,
Heavy D & The Boyz,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
Sex Pistols,
Marshall Jefferson,
Inner City,
the Soft Cell,
Louis and Bebe Barron,
Byron Stingily,
Gang Gang Dance,
The Stooges,
Ohio Players,
Magma,
Roxy Music,
London Community Gospel Choir,
Eli Mardock,
Monks,
the Sonics,
Kevin Saunderson,
Animal Collective,
Panda Bear,
Tommy Roe,
Dennis Brown,
Gong,
Delon & Dalcan,
Ornette Coleman,
Warsaw,
Rod Modell,
Lightning Bolt,
Bang On A Can,
David McCallum,
China Crisis,
The Beau Brummels,
Kayak,
Selector Dub Narcotic,
Gian Franco Pienzio,
The Mummies,
Echospace,
Brothers Johnson,
The Trojans,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.