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 Papua New Guinea and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Beijing 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 guitar 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 James White and The Blacks to the dance 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 Supertramp. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Quadrant,
Banda Bassotti,
FM Einheit,
Excepter,
Amazonics,
Manfred Mann's Earth Band,
Alison Limerick,
Colin Newman,
Radiohead,
Joey Negro,
Funkadelic,
James White and The Blacks,
Unrelated Segments,
The Angels of Light,
Half Japanese,
Ice-T,
The New Christs,
Lindisfarne,
This Heat,
The Happenings,
Nik Kershaw,
The Count Five,
The Saints,
Bluetip,
D'Angelo,
The Dirtbombs,
Josef K,
Lightning Bolt,
Public Enemy,
The Jesus and Mary Chain,
It's A Beautiful Day,
Gichy Dan,
Urselle,
Kas Product,
Drexciya,
Masters at Work,
Zero Boys,
Thinking Fellers Union Local 282,
Eyeless In Gaza,
U.S. Maple,
Boogie Down Productions,
ABBA,
Lou Christie,
DNA,
B.T. Express,
Little Man,
Al Stewart,
Television,
Ash Ra Tempel,
Susan Cadogan,
X-Ray Spex,
The Cramps,
Make Up,
The Dead C,
Fatback Band,
Sight & Sound,
Scott Walker,
Nico,
Roy Ayers Ubiquity,
Oneida,
Bobby Byrd,
Robert Görl,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.