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 Kosovo and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Thee Headcoats to the rock kids.
I played it at Trash.
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 Judy Mowatt. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Lebanon Hanover 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
DJ Sneak,
The Moleskins,
The Cosmic Jokers,
Y Pants,
Franke,
Skriet,
The Barracudas,
Ultravox,
Gregory Isaacs,
Ajijia Myrayebe,
Black Flag,
Severed Heads,
Delta 5,
Boz Scaggs,
Jandek,
8 Eyed Spy,
Joe Smooth,
Barry Ungar,
cv313,
Pierre Henry,
Smog,
ABC,
Yazoo,
Iggy Pop,
Graham Central Station,
The Pretty Things,
Girls At Our Best!,
Jerry Gold Smith,
DNA,
Howard Jones,
The Saints,
Tears for Fears,
The Knickerbockers,
Jesper Dahlbäck,
Major Organ And The Adding Machine,
Sex Pistols,
Tom Boy,
Slave,
Wings,
Young Marble Giants,
Bronski Beat,
Tomorrow,
Cameo,
Arthur Verocai,
The Invisible,
Organ,
The Residents,
Bobby Hutcherson,
Easy Going,
Newcleus,
Ultra Naté,
kango's stein massive,
Lower 48,
Popol Vuh,
Guru Guru,
Jacques Brel,
Marshall Jefferson,
Gil Scott-Heron and Jamie xx,
Charles Mingus,
Soft Machine,
Bobbi Humphrey,
Tropical Tobacco,
Zapp, Zapp, Zapp, Zapp.
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.