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 Gambia and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Icehouse to the rock kids.
I played it at Cafe Wha.
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 Albert Ayler. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The United States of America 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Sam Rivers,
Bobby Byrd,
Bill Near,
Althea and Donna,
The Young Rascals,
Gong,
Rowland S Howard / Lydia Lunch,
Janne Schatter,
Smog,
Lightning Bolt,
Charles Mingus,
Jesper Dahlback,
David McCallum,
Wire,
June of 44,
Röyhkä ja Rättö ja Lehtisalo,
Niagra,
The Blues Magoos,
Quando Quango,
The Grass Roots,
Teenage Jesus and the Jerks,
Harry Pussy,
The Sound,
Can,
Avey Tare,
Blossom Toes,
Q65,
Max Romeo,
Neil Young & Crazy Horse,
Chris & Cosey,
Man Parrish,
EPMD,
DNA,
The Mighty Diamonds,
Dorothy Ashby,
The Leaves,
Visage,
Minor Threat,
The Real Kids,
Ronan,
Josef K,
Mr. Review,
KRS-One,
Lou Reed & Metallica,
Oppenheimer Analysis,
Red Lorry Yellow Lorry,
Deakin,
Joy Division,
Scientists,
Nick Fraelich,
Crispy Ambulance,
Rites of Spring,
Rotary Connection,
Avey Tare & Kría Brekkan,
John Coltrane,
The Slackers,
Marc Romboy vs. Booka Shade,
Notorious BIG live in Amsterdam,
John Foxx,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.