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 Korea South and from Sao Paulo.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Graham Central Station to the jazz kids.
I played it at the Roxy.
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 Residents. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Vainqueur,
U.S. Maple,
Severed Heads,
Girls At Our Best!,
CMW,
Connie Case,
The Gap Band,
Tomorrow,
Gil Scott-Heron & Brian Jackson,
Kauko Röyhkä ja Narttu,
Soft Cell,
DNA,
Lalo Schifrin,
Boredoms,
The Knickerbockers,
Henry Cow,
The Sound,
Joy Division,
the Normal,
Max Romeo,
Supertramp,
Don Cherry,
Larry & the Blue Notes,
Television Personalities,
Graham Central Station,
Radio Birdman,
The Zeros,
Ice-T,
DJ Sneak,
Selector Dub Narcotic,
Dave Gahan,
K-Klass,
Slave,
The Birthday Party,
Audionom,
Electric Prunes,
Glenn Branca,
Con Funk Shun,
The Dave Clark Five,
Roxette,
Richard Hell and the Voidoids,
Mo-Dettes,
Negative Approach,
Barbara Tucker,
Guru Guru,
The Seeds,
The Dead C,
Sun City Girls,
8 Eyed Spy,
Drive Like Jehu,
Lou Reed,
the Slits,
Buzzcocks,
Kaleidoscope,
Clear Light,
Morten Harket,
The Busters,
48th St. Collective,
Bauhaus,
Rufus Thomas,
Yaz,
Monolake,
The Cramps, The Cramps, The Cramps, The Cramps.
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.