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 Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Salvador 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 Charles Mingus to the techno kids.
I played it at the Spitz.
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 Amon Düül. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Hashim,
Tomorrow,
Josef K,
Avey Tare & Kría Brekkan,
The Raincoats,
the Normal,
The Modern Lovers,
Depeche Mode,
Flamin' Groovies,
The Fire Engines,
John Coltrane,
The Doors,
Black Flag,
Stiv Bators,
Prince Buster,
Icehouse,
Bootsy Collins,
The Pop Group,
The Flesh Eaters,
Slave,
Orchestral Manoeuvres in the Dark,
The Vogues,
Eric Dolphy,
Soul Sonic Force,
the Human League,
Soulsonic Force,
Kango’s Stein Massive,
Gichy Dan,
Sonny Sharrock,
The Moleskins,
Graham Central Station,
Connie Case,
Roxette,
Soft Machine,
The Walker Brothers,
Scion,
Albert Ayler,
The Litter,
It's A Beautiful Day,
The Techniques,
The Royal Family And The Poor,
The Cosmic Jokers,
Y Pants,
Scott Walker,
Drexciya,
Lalo Schifrin,
Moebius,
Parry Music,
Be Bop Deluxe,
Bush Tetras,
Masters at Work,
Ultimate Spinach,
This Heat,
Mark Hollis,
Scientists,
Lebanon Hanover,
The Leaves,
Isaac Hayes,
Rufus Thomas,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.