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 Germany and from Bremen.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Spokane 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Alton Ellis to the dance kids.
I played it at the Spitz.
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 Dennis Brown. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every New Order 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Captain Beefheart & His Magic Band,
Cybotron,
Marshall Jefferson,
Groovy Waters,
Peter & Gordon,
Pharaoh Sanders and the Fire Engines,
Audionom,
Fatback Band,
Quando Quango,
Cluster,
Henry Cow,
John Cale,
AZ,
Matthew Halsall,
Jerry Gold Smith,
Tres Demented,
Lalo Schifrin,
Clear Light,
Neil Young,
Bush Tetras,
The Busters,
Patti Smith,
De La Soul & Jungle Brothers,
Jeff Lynne,
The J.B.'s,
The Slits,
Marc Romboy vs. Booka Shade,
John Coltrane,
June of 44,
Marmalade,
Rites of Spring,
New Order,
Kayak,
Rod Modell,
Eli Mardock,
Lou Reed & John Cale,
Pantaleimon,
Soul Sonic Force,
Guru Guru,
the Bar-Kays,
Mission of Burma,
Stiv Bators,
Archie Shepp,
Erykah Badu,
Crime,
U.S. Maple,
Frankie Knuckles,
Roger Hodgson,
Jesper Dahlbäck,
UT,
Nick Cave & The Bad Seeds,
The Raincoats,
Hot Snakes,
Eyeless In Gaza,
Ultravox,
Dual Sessions,
Radio Birdman,
Tim Buckley,
Fort Wilson Riot,
The Zeros,
James White and The Blacks,
Gastr Del Sol,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.