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 Syria and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Jimmy McGriff to the crunk 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 Scott Walker. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
The Techniques,
Wally Richardson,
cv313,
Orchestral Manoeuvres in the Dark,
Subhumans,
The Real Kids,
Bang on a Can All-Stars,
Desert Stars,
Wings,
Main Source,
the Bar-Kays,
Thompson Twins,
Donald Byrd,
The Walker Brothers,
Ossler,
Symarip,
Sun Ra,
Country Teasers,
Soft Cell,
Bush Tetras,
Section 25,
Dark Day,
Alice Coltrane,
Camouflage,
The Searchers,
E-Dancer,
Anakelly,
Q and Not U,
Man Eating Sloth,
Peter and Kerry,
Dr. Dre and Snoop Doggy Dog,
Avey Tare,
Joe Finger,
Ludus,
Accadde A,
FM Einheit,
Bronski Beat,
Eric Copeland,
Sunsets and Hearts,
Sun Ra Arkestra,
Niagra,
The Fugs,
Eve St. Jones,
Shoche,
Eurythmics,
Terrestrial Tones,
Neil Young & Crazy Horse,
The Five Americans,
Graham Central Station,
Strawberry Alarm Clock,
New Order,
Talk Talk,
The Wake,
June Days,
Cluster,
The Associates,
The Doors,
DJ Style,
Scion,
Japan, Japan, Japan, Japan.
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.