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 Bulgaria and from Edmonton.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba 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 Ronnie Foster to the techno 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 The Tremeloes. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Pulsallama,
John Cale,
La Düsseldorf,
Chris Corsano,
Gian Franco Pienzio,
Agitation Free,
Pharaoh Sanders and the Fire Engines,
Marvin Gaye,
Ornette Coleman,
Nik Kershaw,
Marmalade,
Public Image Ltd.,
The Vogues,
MDC,
Basic Channel,
Surgeon,
a-ha,
Toni Rubio,
New York Dolls,
Lebanon Hanover,
Ice-T,
Johnny Osbourne,
Royal Trux,
Roxy Music,
Magma,
The Blues Magoos,
Major Organ And The Adding Machine,
Beasts of Bourbon,
June of 44,
The Young Rascals,
Delon & Dalcan,
Avey Tare's Slasher Flicks,
Flipper,
Stereo Dub,
Icehouse,
Public Enemy,
Marc Almond,
Bootsy Collins,
David McCallum,
Jeff Mills,
Nick Fraelich,
Vladislav Delay,
Alice Coltrane,
Derrick Morgan,
The Evens,
Saccharine Trust,
Althea and Donna,
The Divine Comedy,
Gong,
Moebius,
The Fall,
Cheater Slicks,
R.M.O.,
Boogie Down Productions,
Bill Near,
LL Cool J,
Electric Light Orchestra,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.