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 Iraq and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Mexico City 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 organ 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 Con Funk Shun to the techno 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 John Lydon. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Kerrie Biddell 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 '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Flipper,
Hoover,
The Cowsills,
Bobby Womack,
Half Japanese,
R.M.O.,
Chris & Cosey,
Wings,
Sonny Sharrock,
Camron Feat. Memphis Bleek And Beenie Seigel,
Average White Band,
Blossom Toes,
Donald Byrd,
Radiohead,
Bill Near,
Jeff Lynne,
Sandy B,
Echo & the Bunnymen,
The Sound,
Zero Boys,
Dave Gahan,
Infiniti,
Banda Bassotti,
Eyeless In Gaza,
Dennis Brown,
ABC,
Fela Kuti,
Smog,
Morten Harket,
The Cramps,
Joe Smooth,
Man Eating Sloth,
Girls At Our Best!,
Sixth Finger,
Babytalk,
Excepter,
Lindisfarne,
Prince Buster,
Sly & The Family Stone,
The Stooges,
Sunsets and Hearts,
Porter Ricks,
Reuben Wilson,
Q65,
The Neon Judgement,
Siouxsie and the Banshees,
Minutemen,
Pole,
Scientists,
Don Cherry,
Nik Kershaw,
Vladislav Delay,
Joey Negro,
The Monks,
Peter & Gordon,
Crime,
Cheater Slicks,
Make Up,
The Gap Band,
Theoretical Girls,
Cabaret Voltaire,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.