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 South Africa and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Tokyo.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Alton Ellis to the funk 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 The Modern Lovers. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Amon Düül II,
Sandy B,
Blake Baxter,
H. Thieme,
John Cale,
Procol Harum,
Alphaville,
Junior Murvin,
Smog,
Tres Demented,
Absolute Body Control,
Scott Walker + Sunn O))),
Kool Moe Dee,
Bill Near,
Lee Hazlewood,
Sound Behaviour,
Vladislav Delay,
10cc,
Curtis Mayfield,
Model 500,
Steve Hackett,
The Mojo Men,
Grandmaster Flash and the Furious Five,
Sparks,
Major Organ And The Adding Machine,
the Association,
Unrelated Segments,
Throbbing Gristle,
Kerrie Biddell,
The Blues Magoos,
Crime,
Mars,
Agent Orange,
The Neon Judgement,
Wings,
Radio Birdman,
The Busters,
Youth Brigade,
Grauzone,
Silicon Teens,
Connie Case,
MDC,
Siglo XX,
Drive Like Jehu,
Lungfish,
Q65,
Thompson Twins,
Sexual Harrassment,
Dark Day,
Ultimate Spinach,
Slave,
Barry Ungar,
Kango’s Stein Massive,
Sight & Sound,
La Düsseldorf,
Flash Fearless,
Super Lover Cee & Casanova Rud,
Adolescents,
Supertramp,
Lebanon Hanover,
Masters at Work,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.