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 Bahrain and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 marimba 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 Deepchord to the jazz 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 Reuben Wilson. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Shadows of Knight,
Japan,
Camouflage,
Loose Ends,
Pharaoh Sanders and the Fire Engines,
Ronan,
The Music Machine,
Big Daddy Kane,
The Remains,
The Doors,
Strawberry Alarm Clock,
Kenny Larkin,
Black Bananas,
Niagra,
The Electric Prunes,
La Düsseldorf,
H. Thieme,
Al Stewart,
the Fania All-Stars,
Alice Coltrane,
Arab on Radar,
Amon Düül II,
Notorious Big And Bone Thugs,
Ten City,
Minutemen,
Yellowson,
Lyres,
Inner City,
Kauko Röyhkä ja Narttu,
Tim Buckley,
Pet Shop Boys,
Ornette Coleman,
Hashim,
Simply Red,
The New Christs,
Wighnomy Brothers & Robag Wruhme,
The Slits,
Royal Trux,
One Last Wish,
Scan 7,
Urselle,
Nik Kershaw,
PIL,
Average White Band,
This Heat,
Angels of Light & Akron/Family,
Kango’s Stein Massive,
Mantronix,
The Smiths,
Suburban Knight,
Supertramp,
Section 25,
Minny Pops,
Magazine,
Ultimate Spinach,
Gregory Isaacs,
The Raincoats,
F. McDonald,
U.S. Maple,
The Victims,
Tommy Roe,
Liaisons Dangereuses,
The American Breed, The American Breed, The American Breed, The American Breed.
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.