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 Argentina and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1964 to 1975.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school London 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 rhodes 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 Alice Coltrane to the dance kids.
I played it at the Astoria.
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 Laurel Aitken. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '90s.
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 Bootsy Collins record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Deakin,
MDC,
New Order,
Rhythm & Sound,
Todd Terry,
Rod Modell,
The Dead C,
Ten City,
Chris & Cosey,
Minutemen,
Lalann,
the Soft Cell,
Marine Girls,
The Shadows of Knight,
Flamin' Groovies,
Mr. Review,
Rites of Spring,
A Flock of Seagulls,
Patti Smith,
Ultramagnetic MC's,
Camouflage,
Gil Scott-Heron & Brian Jackson,
Jerry Gold Smith,
The Busters,
Electric Prunes,
Lyres,
Alison Limerick,
Pagans,
Andrew Ashong & Theo Parrish,
Brand Nubian,
Gichy Dan,
Neil Young,
June Days,
Glenn Branca,
Johnny Clarke,
Godley & Creme,
Circle Jerks,
Fort Wilson Riot,
Curtis Mayfield,
Lakeside,
Susan Cadogan,
Ponytail,
Alice Coltrane,
Niagra,
Teenage Jesus and the Jerks,
The Walker Brothers,
Ronan,
Aaron Thompson,
Livin' Joy,
Lizzy Mercier Descloux,
ABBA,
Radio Birdman,
Boogie Down Productions,
Chrome,
Faust,
The Grass Roots,
Gabor Szabo,
Terry Callier,
Khruangbin,
the Human League,
Soft Cell,
Suburban Knight,
The Names, The Names, The Names, The Names.
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.