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 Taiwan and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Woodstock 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 guitar 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 Be Bop Deluxe to the dance kids.
I played it at Trash.
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 Royal Trux. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Brass Construction 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Audionom,
Pantaleimon,
E-Dancer,
Kerrie Biddell,
Lakeside,
The Searchers,
Gil Scott-Heron and Jamie xx,
Rakim,
The Trojans,
The Sisters of Mercy,
Aswad,
Gary Puckett & The Union Gap,
10cc,
Moby Grape,
Silicon Teens,
Bobby Sherman,
Soul II Soul,
Angels of Light & Akron/Family,
Kaleidoscope,
Japan,
Fat Boys,
Art Ensemble Of Chicago,
Pere Ubu,
Rapeman,
Crispian St. Peters,
F. McDonald,
Urselle,
Notorious BIG live in Amsterdam,
The Tremeloes,
Gichy Dan,
Hardrive,
Eve St. Jones,
The Walker Brothers,
Selector Dub Narcotic,
Alison Limerick,
Nation of Ulysses,
Skaos,
Beasts of Bourbon,
Bootsy's Rubber Band,
Colin Newman,
Danielle Patucci,
Captain Beefheart & His Magic Band,
This Heat,
the Swans,
The Blues Magoos,
Sound Behaviour,
Drive Like Jehu,
Deepchord,
Agent Orange,
Lee Hazlewood,
Vainqueur,
Robert Hood,
The Doors,
Stereo Dub,
The Star Department,
Crime,
The Motions,
Kool Moe Dee,
Frankie Knuckles,
One Last Wish,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.