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 Bhutan and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1973.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Hong Kong 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 The Men They Couldn't Hang to the jazz 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 Newcleus. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Mark Hollis 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Animal Collective,
The Fuzztones,
Unwound,
Excepter,
Hashim,
Alphaville,
Flash Fearless,
The Electric Prunes,
Quadrant,
Sad Lovers and Giants,
The New Christs,
Fat Boys,
Sound Behaviour,
The Monks,
Icehouse,
The Standells,
Susan Cadogan,
Peter & Gordon,
Piero Umiliani,
Supertramp,
Ohio Players,
The Associates,
The Selecter,
The Men They Couldn't Hang,
Andrew Hill,
Theoretical Girls,
Main Source,
Lalo Schifrin,
The Velvet Underground,
Fatback Band,
48th St. Collective,
Archie Shepp,
Black Bananas,
The Smiths,
Deutsch Amerikanische Freundschaft,
Crash Course in Science,
The Last Poets,
David Bowie,
Bobby Womack,
Visage,
Arab on Radar,
Banda Bassotti,
Delon & Dalcan,
Cameo,
Mr. Review,
Bang On A Can,
Jacob Miller,
Spoonie Gee,
Ultimate Spinach,
CMW,
Hot Snakes,
Oneida,
Tears for Fears,
Crooked Eye,
Urselle,
Robert Hood,
Gang Green,
The Chocolate Watch Band,
Ultra Naté,
Altered Images,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.