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 Israel and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Oneida to the grime kids.
I played it at the 40 Watt.
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 Fort Wilson Riot. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Throbbing Gristle 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Louis and Bebe Barron,
Johnny Clarke,
the Association,
London Community Gospel Choir,
Kings Of Tomorrow,
Grauzone,
Surgeon,
L. Decosne,
Urselle,
Groovy Waters,
PIL,
Super Lover Cee & Casanova Rud,
Dual Sessions,
Pantaleimon,
The Dave Clark Five,
Dr. Dre and Snoop Doggy Dog,
Maurizio,
the Slits,
The Blackbyrds,
kango's stein massive,
Symarip,
The Alarm Clocks,
Harry Pussy,
Model 500,
Rosa Yemen,
Bad Manners,
KRS-One,
Rod Modell,
Mandrill,
Electric Prunes,
The Slackers,
Jerry's Kids,
Peter and Kerry,
The Buckinghams,
Pole,
The Wake,
Morten Harket,
The Red Krayola,
Alphaville,
Swans,
Marcia Griffiths,
Sandy B,
Sonny Sharrock,
Popol Vuh,
Fort Wilson Riot,
The Standells,
Lucky Dragons,
Sonic Youth,
Gabor Szabo,
Avey Tare & Kría Brekkan,
Roxy Music,
Pharaoh Sanders and the Fire Engines,
David McCallum,
The Happenings,
The Move,
Vaughan Mason & Crew,
Loose Ends,
Quando Quango,
Sexual Harrassment,
Donny Hathaway,
Rhythim Is Rhythim,
Supertramp,
The Kinks, The Kinks, The Kinks, The Kinks.
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.