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 Denmark and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Lee Hazlewood to the funk 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 Ralphi Rosario. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Judy Mowatt 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Make Up,
Kenny Larkin,
Mission of Burma,
Kings Of Tomorrow,
Technova,
cv313,
Gong,
Roger Hodgson,
Rekid,
New York Dolls,
Chris & Cosey,
Cheater Slicks,
Aaron Thompson,
Tim Buckley,
The Monochrome Set,
Ronan,
Visionaries,LMNO, T- Love & Iriscience,
Sonic Youth,
Amazonics,
The Shadows of Knight,
Dual Sessions,
Graham Central Station,
Rhythim Is Rhythim,
Erasure,
The Dave Clark Five,
The Star Department,
The Moody Blues,
Quando Quango,
Don Cherry,
Lou Reed & John Cale,
Jandek,
The Litter,
The Gories,
Skriet,
Little Man,
Pussy Galore,
Angry Samoans,
10cc,
Zero Boys,
The Doors,
The Jesus and Mary Chain,
Drive Like Jehu,
the Soft Cell,
Monolake,
Donald Byrd,
Blossom Toes,
Barry Ungar,
Marshall Jefferson,
Neil Young & Crazy Horse,
Jerry's Kids,
Hoover,
Ash Ra Tempel,
The Durutti Column,
Theoretical Girls,
Yellowson,
Susan Cadogan,
Radiopuhelimet,
Gabor Szabo,
The Invisible,
Barbara Tucker,
Loose Ends,
Franke, Franke, Franke, Franke.
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.