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 France and from Glasgow.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes 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 Joy Division to the disco 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 Lyres. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Negative Approach,
Derrick Morgan,
Sister Nancy,
Tears for Fears,
Fugazi,
JFA,
The Techniques,
Camberwell Now,
Graham Central Station,
Grandmaster Flash and the Furious Five,
Q65,
Sly & The Family Stone,
The Real Kids,
Ultramagnetic MC's,
Alton Ellis,
Babytalk,
Rowland S Howard / Lydia Lunch,
Rekid,
Harry Pussy,
Jesper Dahlback,
Black Flag,
Larry & the Blue Notes,
Little Man,
Second Layer,
Wolf Eyes,
D'Angelo,
Susan Cadogan,
Mission of Burma,
Qualms,
Eve St. Jones,
KRS-One,
Unwound,
Inner City,
the Fania All-Stars,
The Associates,
A Flock of Seagulls,
Suburban Knight,
Porter Ricks,
Grandmaster Flash,
The Flesh Eaters,
Accadde A,
The Music Machine,
Popol Vuh,
Lalann,
the Germs,
Kauko Röyhkä ja Narttu,
The Standells,
Country Joe & The Fish,
Index,
Rhythim Is Rhythim,
Joy Division,
Wire,
Amazonics,
Bobby Hutcherson,
The Angels of Light,
Warren Ellis,
Basic Channel,
Pet Shop Boys,
Colin Newman,
MDC,
The Human League, The Human League, The Human League, The Human League.
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.