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 Lesotho and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Lagos 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 harpsichord 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 Arab on Radar to the disco kids.
I played it at the Astoria.
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 The Slits. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Liliput,
Alison Limerick,
Tim Buckley,
Technova,
Fort Wilson Riot,
The Last Poets,
Ultravox,
Parry Music,
Faust,
Blossom Toes,
The Durutti Column,
Ten City,
Aaron Thompson,
Interpol,
Patti Smith,
The Remains,
Fluxion,
Gil Scott-Heron and Jamie xx,
Richard Hell and the Voidoids,
Stockholm Monsters,
Oblivians,
DJ Sneak,
Dorothy Ashby,
Curtis Mayfield,
Sun Ra Arkestra,
Scott Walker,
Kayak,
The Associates,
Tomorrow,
Peter Gordon & Love of Life Orchestra,
Robert Görl,
T. Rex,
Youth Brigade,
Minnie Riperton,
Brand Nubian,
Stereo Dub,
X-102,
One Last Wish,
Skaos,
Pagans,
Grandmaster Flash and the Furious Five,
Magazine,
the Sonics,
Big Daddy Kane,
Dave Gahan,
Mary Jane Girls,
Prince Buster,
Boredoms,
Drive Like Jehu,
E-Dancer,
Isaac Hayes,
Letta Mbulu,
Ralphi Rosario,
Eve St. Jones,
Freddie Wadling,
Cymande,
Jandek,
The Golliwogs,
Blake Baxter,
Moebius,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.