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 France and from Shanghai.
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 Bremen and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 clarinet 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 Man Eating Sloth to the disco 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 Steve Hackett. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Richard Hell and the Voidoids,
The Red Krayola,
Gastr Del Sol,
Ponytail,
Wally Richardson,
Letta Mbulu,
U.S. Maple,
Stetsasonic,
David McCallum,
Royal Trux,
the Swans,
The Wake,
Magma,
Bill Wells,
Bobby Hutcherson,
Nico,
The Move,
Silicon Teens,
Oneida,
T. Rex,
Todd Rundgren,
Q65,
Schoolly D,
Roxy Music,
Rapeman,
Altered Images,
Frankie Knuckles,
Jeru the Damaja,
Section 25,
Audionom,
The Monochrome Set,
Zero Boys,
Nik Kershaw,
The Buckinghams,
Pierre Henry,
Minutemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Man Parrish,
Lafayette Afro Rock Band,
DJ Style,
The Alarm Clocks,
The Misunderstood,
The Victims,
Hot Snakes,
Yazoo,
Terror Squad Feat. Camron,
Al Stewart,
D'Angelo,
Eric Copeland,
the Fania All-Stars,
Charles Mingus,
Monolake,
The American Breed,
Terry Callier,
Interpol,
The Cure,
Sandy B,
James White and The Blacks,
Television Personalities,
Howard Jones,
Eric Dolphy,
the Slits,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.