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 Switzerland and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Mumbai 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 World's Most 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 Gang Gang Dance. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Ice-T 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Minny Pops,
the Swans,
New York Dolls,
Country Teasers,
Deepchord,
Gong,
Sunsets and Hearts,
Motorama,
The Toasters,
Lindisfarne,
The Martian,
Sound Behaviour,
kango's stein massive,
Newcleus,
The Move,
Marc Romboy vs. Booka Shade,
Urselle,
Section 25,
Wolf Eyes,
Josef K,
Gregory Isaacs,
UT,
the Fania All-Stars,
Heaven 17,
Harpers Bizarre,
Gabor Szabo,
Icehouse,
Gastr Del Sol,
The Doors,
Depeche Mode,
H. Thieme,
Red Lorry Yellow Lorry,
The Gap Band,
Laurel Aitken,
Procol Harum,
B.T. Express,
Dawn Penn,
Maleditus Sound,
Amazonics,
Thompson Twins,
Delon & Dalcan,
Panda Bear,
Terry Callier,
Liliput,
Tropical Tobacco,
Mark Hollis,
Make Up,
Rufus Thomas,
Jacques Brel,
Excepter,
The Alarm Clocks,
Franke,
Sugar Minott,
David Axelrod,
Al Stewart,
Eddi Front,
X-101,
The Walker Brothers,
Ultravox,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.