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 Sudan and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Manchester 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 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 Icehouse to the jazz kids.
I played it at CBGB's.
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 Tres Demented. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Anthony Braxton,
The Fugs,
Deadbeat,
Gichy Dan,
Derrick May,
Rekid,
DJ Sneak,
Man Parrish,
Peter and Kerry,
Jawbox,
Nirvana,
Bush Tetras,
Byron Stingily,
Supertramp,
Jesper Dahlbäck,
Matthew Halsall,
Be Bop Deluxe,
Crispian St. Peters,
Eden Ahbez,
Royal Trux,
The Birthday Party,
Das Ding,
Soul Sonic Force,
Oppenheimer Analysis,
The Misunderstood,
Rowland S Howard / Lydia Lunch,
Intrusion,
Inner City,
Alphaville,
Gong,
Siouxsie and the Banshees,
June Days,
Gregory Isaacs,
Nick Fraelich,
Idris Muhammad,
OOIOO,
Nation of Ulysses,
Siglo XX,
DNA,
Bluetip,
Morten Harket,
The Jesus and Mary Chain,
The Smiths,
The Divine Comedy,
Quadrant,
the Slits,
Unrelated Segments,
Can,
The Music Machine,
Joey Negro,
Sex Pistols,
Desert Stars,
Bang on a Can All-Stars,
Harpers Bizarre,
Ultimate Spinach,
Quantec,
Scott Walker + Sunn O))),
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Dave Gahan,
Minnie Riperton,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.