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 Gambia and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Minny Pops to the rock 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 Chris Corsano. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Brothers Johnson,
OOIOO,
Bizarre Inc.,
Marc Romboy vs. Booka Shade,
Matthew Bourne,
Roxy Music,
Panda Bear,
Mark Hollis,
Gabor Szabo,
Eurythmics,
Basic Channel,
DJ Sneak,
Matthew Halsall,
Siglo XX,
Amon Düül II,
Visionaries,LMNO, T- Love & Iriscience,
Rapeman,
The Remains,
Accadde A,
Lonnie Liston Smith,
Neu!,
The Doors,
The Gories,
The Monochrome Set,
Sound Behaviour,
DeepChord presents Echospace,
The J.B.'s,
Section 25,
X-Ray Spex,
The Misunderstood,
Delta 5,
Vladislav Delay,
FM Einheit,
Eyeless In Gaza,
Deadbeat,
Anthony Braxton,
Boz Scaggs,
John Cale,
Roy Ayers Ubiquity,
Lungfish,
Crispy Ambulance,
Ultramagnetic MC's,
The Royal Family And The Poor,
Justin Hinds & The Dominoes,
D'Angelo,
Bauhaus,
Sun Ra,
Nick Fraelich,
The Happenings,
Pet Shop Boys,
Brass Construction,
The Zeros,
Minnie Riperton,
Gang Starr,
Crash Course in Science,
Ohio Players,
T. Rex,
Icehouse,
Sexual Harrassment,
Easy Going,
Bill Wells,
Roxette, Roxette, Roxette, Roxette.
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.