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 Honduras and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Bologna 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 chamberlin 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 The Raincoats to the rock 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 Loose Ends. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Ralphi Rosario 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Matthew Halsall,
Hoover,
Newcleus,
Dave Gahan,
Tim Buckley,
The Fire Engines,
F. McDonald,
Bootsy Collins,
Sun Ra,
Avey Tare & Kría Brekkan,
Spoonie Gee,
Rhythm & Sound,
8 Eyed Spy,
Liliput,
Iggy Pop,
Bronski Beat,
Marmalade,
Brand Nubian,
The Moleskins,
Eyeless In Gaza,
Scan 7,
Sad Lovers and Giants,
La Düsseldorf,
Jacques Brel,
Wings,
Reagan Youth,
kango's stein massive,
Jeru the Damaja,
The Martian,
Swell Maps,
Main Source,
Albert Ayler,
Rhythim Is Rhythim,
Lebanon Hanover,
Bang On A Can,
Gang Gang Dance,
London Community Gospel Choir,
Peter and Kerry,
Jerry Gold Smith,
The Mummies,
Wolf Eyes,
Nils Olav,
Chris & Cosey,
Roxette,
Electric Prunes,
Oneida,
The Selecter,
T. Rex,
Spandau Ballet,
Eve St. Jones,
Sister Nancy,
Be Bop Deluxe,
Roy Ayers,
Lightning Bolt,
Lakeside,
John Coltrane,
Saccharine Trust,
Average White Band,
X-102,
ABC,
Cameo,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.