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 Burundi 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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Traffic Nightmare to the electroclash kids.
I played it at the Hacienda.
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 Bang On A Can. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Electric Light Orchestra,
Rapeman,
Robert Hood,
The Cosmic Jokers,
JFA,
The Move,
Television Personalities,
Ten City,
Scion,
The Count Five,
Index,
Al Stewart,
The Cowsills,
Infiniti,
Skarface,
Von Mondo,
The Mojo Men,
The Techniques,
Frankie Knuckles,
The Selecter,
Sugar Minott,
Eyeless In Gaza,
Soft Machine,
Agent Orange,
The Knickerbockers,
Henry Cow,
Spoonie Gee,
The Velvet Underground,
Can,
Letta Mbulu,
Larry & the Blue Notes,
Yusef Lateef,
Rosa Yemen,
Mary Jane Girls,
Sight & Sound,
Anthony Braxton,
The Peanut Butter Conspiracy,
Outsiders,
The Gap Band,
De La Soul & Jungle Brothers,
New Order,
Orchestral Manoeuvres in the Dark,
Nils Olav,
Massinfluence,
Procol Harum,
Reagan Youth,
Porter Ricks,
Ornette Coleman,
Kool G Rap & DJ Polo,
Moby Grape,
Notorious BIG live in Amsterdam,
Cameo,
Adolescents,
Flamin' Groovies,
Faraquet,
The Golliwogs,
Bobby Hutcherson,
Judy Mowatt,
Jesper Dahlback,
The Cure,
Visage,
Simply Red,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.