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 Congo and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school London 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 Mistral practice in a loft in Amsterdam.
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 Half Japanese to the crunk 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 Throbbing Gristle. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Dark Day,
8 Eyed Spy,
The Index,
Wally Richardson,
Nick Cave & The Bad Seeds,
Desert Stars,
Camouflage,
Echo & the Bunnymen,
Aloha Tigers,
The Saints,
Scratch Acid,
Lakeside,
Anakelly,
Manfred Mann's Earth Band,
the Association,
Quadrant,
The Fire Engines,
ABBA,
Cecil Taylor,
Nation of Ulysses,
Be Bop Deluxe,
The Five Americans,
Lalann,
David McCallum,
A Flock of Seagulls,
X-Ray Spex,
Silicon Teens,
Strawberry Alarm Clock,
Terrestrial Tones,
Graham Central Station,
Nas,
The Fuzztones,
Arcadia,
The Moleskins,
Matthew Halsall,
The Martian,
Hot Snakes,
Trumans Water,
10cc,
Aswad,
K-Klass,
Lou Christie,
Average White Band,
Radio Birdman,
Piero Umiliani,
The Monochrome Set,
Oppenheimer Analysis,
Lightning Bolt,
Kas Product,
Interpol,
The Jesus and Mary Chain,
Liliput,
Amazonics,
La Düsseldorf,
Porter Ricks,
The Fall,
Joyce Sims,
John Coltrane,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.