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 Palau and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Unrelated Segments 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 Sex Pistols. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Letta Mbulu,
Bootsy Collins,
Wasted Youth,
Jacob Miller,
Charles Mingus,
Roxette,
CMW,
Avey Tare,
Be Bop Deluxe,
The Buckinghams,
Pole,
Lakeside,
Pantaleimon,
The Victims,
Kerri Chandler,
Fort Wilson Riot,
The Tremeloes,
Banda Bassotti,
Angry Samoans,
Intrusion,
The Doobie Brothers,
Saccharine Trust,
Colin Newman,
Country Joe & The Fish,
Livin' Joy,
Gang Gang Dance,
Tom Boy,
Goldenarms,
Amon Düül II,
Suburban Knight,
Funkadelic,
Lou Christie,
Robert Hood,
PIL,
Hasil Adkins,
Gian Franco Pienzio,
Scratch Acid,
Reuben Wilson,
Bronski Beat,
The Mummies,
Smog,
Kauko Röyhkä ja Narttu,
Country Teasers,
Neu!,
Kurtis Blow,
The Slits,
Kevin Saunderson,
Anakelly,
Bobby Hutcherson,
Derrick Morgan,
Donald Byrd,
Niagra,
Panda Bear,
Rapeman,
Parry Music,
Siglo XX,
Deepchord,
The Stooges,
Sun City Girls,
The Star Department, The Star Department, The Star Department, The Star Department.
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.