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 Paraguay and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when David Bowie 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 ABBA to the electroclash kids.
I played it at the Crocodile.
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 The Monks. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Ituana 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Jandek,
Roy Ayers Ubiquity,
Andrew Hill,
Amon Düül,
Echospace,
Scan 7,
Fear,
Sound Behaviour,
The Dirtbombs,
Grandmaster Flash,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
Tom Boy,
Marcia Griffiths,
Electric Light Orchestra,
Siouxsie and the Banshees,
Technova,
Porter Ricks,
Mad Mike,
Wings,
The Star Department,
Nik Kershaw,
The Names,
The Tremeloes,
Can,
Adolescents,
Hardrive,
Guru Guru,
Absolute Body Control,
Inner City,
Brick,
This Heat,
Gil Scott Heron,
Reagan Youth,
The Alarm Clocks,
It's A Beautiful Day,
Bobby Womack,
Nico,
Skriet,
Eden Ahbez,
David Axelrod,
F. McDonald,
Babytalk,
Little Man,
Vladislav Delay,
The Busters,
Average White Band,
Marc Almond,
The Seeds,
Jesper Dahlbäck,
Blancmange,
Model 500,
Rites of Spring,
Animal Collective,
Interpol,
Anakelly,
Wally Richardson,
Black Sheep,
Scott Walker,
Colin Newman,
Niagra,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.