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 Cambodia and from Tehran.
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 1979.
I'm losing my edge.
To all the kids in Lille and Delhi.
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 arpeggiator 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 Black Pus to the rock kids.
I played it at the 40 Watt.
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 Scion. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
Fluxion,
Kauko Röyhkä ja Narttu,
Excepter,
Sight & Sound,
The Alarm Clocks,
Lower 48,
Andrew Hill,
The Moleskins,
DNA,
The Fortunes,
A Certain Ratio,
The Young Rascals,
Sun Ra Arkestra,
Siouxsie and the Banshees,
Man Parrish,
David Bowie,
Drive Like Jehu,
Marine Girls,
Public Enemy,
Tres Demented,
Aswad,
Deakin,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
Jeff Lynne,
Black Flag,
Funky Four + One,
Heaven 17,
Liliput,
Oppenheimer Analysis,
The Shadows of Knight,
Jacob Miller,
Moebius,
Public Image Ltd.,
U.S. Maple,
Fela Kuti,
The Electric Prunes,
Scion,
The Invisible,
The Selecter,
Ice-T,
Glambeats Corp.,
Throbbing Gristle,
The Mighty Diamonds,
Barbara Tucker,
The Vogues,
The Doors,
David Axelrod,
Subhumans,
Cluster,
Babytalk,
Terrestrial Tones,
Gary Puckett & The Union Gap,
Newcleus,
Joyce Sims,
Pere Ubu,
Be Bop Deluxe,
The Velvet Underground,
The Modern Lovers,
Bobby Sherman,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.