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 Mali and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Spokane 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Gang Gang Dance to the grime 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 Audionom. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Massinfluence 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Gong,
Cal Tjader,
Can,
The Jesus and Mary Chain,
The Men They Couldn't Hang,
B.T. Express,
Groovy Waters,
Livin' Joy,
the Bar-Kays,
Laurel Aitken,
Robert Görl,
The Golliwogs,
The Sisters of Mercy,
The Blackbyrds,
Kool G Rap & DJ Polo,
Brothers Johnson,
Radio Birdman,
Rhythm & Sound,
The Moody Blues,
the Human League,
Wolf Eyes,
Sound Behaviour,
Minnie Riperton,
Eve St. Jones,
Funky Four + One,
Altered Images,
Nirvana,
The American Breed,
Radiopuhelimet,
Black Flag,
The Searchers,
Supertramp,
Joensuu 1685,
Heaven 17,
Todd Rundgren,
The Kinks,
Oblivians,
Visage,
Neil Young & Crazy Horse,
Donald Byrd,
Easy Going,
A Certain Ratio,
Carl Craig,
Roger Hodgson,
Robert Hood,
Prince Buster,
The Moleskins,
The West Coast Pop Art Experimental Band,
Peter Gordon & Love of Life Orchestra,
Jawbox,
Pere Ubu,
Kerrie Biddell,
Pete Rock & C.L. Smooth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ituana,
Quantec,
Barclay James Harvest,
Shoche,
The Black Dice,
Rosa Yemen,
Danielle Patucci,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.